Mixolydian Mode The V Chord
Musical notes are not absolute, they are relative
Even though A above middle C (A440cps) has an absolute frequency, this note can be made to sound different specifically by what note or notes preceed it. Musical note frequencies are absolute, A 440 will always be A 440. However, the mood of this note will change dramatically by the notes preceeding it. The human ear evaluates music as a series of notes, not as an isolated event or note.
Happy or Sad ... Tension or Resolution
Intervals between notes can either be "happy" as in a Major 3rd or "sad" as in a Minor 3rd. When we go from a b7th tone to the tonic or 1st degree we feel resolution. Play a Locrian mode (half-diminished) and feel the tension left on the last note of the mode, it just demands that you add what would be in essence a 9th to resolve it.
The answer to the question at the end of lesson two
The reason why the Lydian mode sounds different is that the 4th degree is different than what we are used to hearing. We are expecting a G and instead get a G#. Immediate tension and some slight dissonance. The art of improvising revolves around the improviser's ability to create tension and then release or resolve that tension. Take one more look at the construction of the Lydian mode and we can see that starting this scale on the 4th degree causes us to go whole, whole, whole as opposed to a normal Major scale that would go whole, whole, half. This is the essence of intervals and why some modes are sad (minor modes), some are happy (major modes) and some really beg to be resolved (locrian half-diminished) creating tension.
D whole E whole F# whole G# half A whole B whole C# half D
Now our song has moved along and we have gone from the IV chord back to the I chord or as some songs do, go from the IV chord to the V chord. Since we are in the key of A the V chord will be E7th. Why E7th instead of just E Major? Back to our modes and this time we will build a scale on the 5th degree (Mixolydian) mode.
A whole B whole C# half D whole E whole F# whole G# half A
The A major scale. Now let's build a scale from the 5th degree of the A major scale.
E whole F# whole G# half A whole B whole C# half D. whole E
Starting on the 5th degree or E we go whole, whole, half, whole, whole, half, whole. Why is this chord called E-7 and not E major 7? If we take a close look at the construction of the mixolydian mode we start out whole, whole, half, whole, whole which so far sounds like our normal Major scale, however, this is where things change. The next interval is half, not whole. This lowers the 7th degree by a half step. This is a very important concept in music to understand. The difference between a Major 7th and a Mixolydian or dominant 7th is the 7th degree or tone is flatted in the Mixolydian mode, thus altering the mood of the notes. To me, the Mixolydian mode is not as happy as a Major 7th but is not sad like a minor third. It is a less rigid and maybe a more free sound. Almost all blues are written in a dominant 7th or Mixolydian mode.
Retain The Guidetones
In any series of notes there are what have been termed the "guide" tones. These are the tones that really construct the mood of the music. They are the 3rd (major 3rd happy, minor 3rd sad) and the 7th (Major happy, dominant 7th not as happy, "bluesy" and maybe more free). Just as in chord theory we try to retain the guidetones it also helps in improvisation to retain the notes that are going to characterize the mood of our solo.
Note in the above mode that we now have a whole step (2 frets) between the 7th degree and the next octave (root) 1st or 8th depending on what you want to call it. Compare the Mixolydian b7th to the Major Ionian 7th below where there is only one fret between the 7th degree and the next 8th (1st) octave or root.
Now if we look at the scale degrees mode chart we can see that the 5th degree is at the 7th fret on the 5th string. That note is E and all we have to do here is to move from either the A position on the 6th string or the D position on the 5th string. Play a dominant 7th mode starting on the E on the 5th string at the 7th fret. As an alternative you could play a root 6/4 dominant 7th mode starting on the 12th fret on the 6th string, another E. This is somewhat more problematic for those playing your typical classical or flamenco guitar.
The Mixolydian root 6/4 mode
Time now to record a complete three chord sequence
Now record a complete three chord sequence making the changes very long giving yourself plenty of time to make the changes and still have time to really improvise a bit over each of the chords. Please understand that the modes can be moved anywhere up and down the neck of the guitar. It is good to practice the modes in all positions where the whole mode can be completed. As you practice up and down starting on the 5th and 6th strings think of the starting note so that you will become more familiar with the guitar fretboard and what key you are playing in.
The Mericle Mode Chart
This is a place where the Mericle Mode Chart can really help. You can have all the above modes plus about 27 more in both root 6/4 and root 5/3 all on one sheet. The modes are arranged into four groups Major 7th, Dominant 7th, Minor and Half-Diminished/Diminished. As you play further down the chart the modes become more dissonant and usually are more technically difficult to play. Suprise your friends by playing a whole tone mode, usually only played by the jazz group.
Please stay tuned for lesson four where we will discuss the Aeolian mode or the relative minor and what we called in the folk heydays, the Sears Roebuck progression C-A minor-F-G7th-C. In lesson five we will discuss the Dorian minor mode as used in the classic jazz progression of II-V-I.
Thanks for your attention and happy guitar playing.
Copyright © John Mericle 2000-2010 All Rights Reserved
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Lesson Two Lydian Mixolydian Modes
Improvise Over A Three Chord Song
The Meeting of the Spirits
Valentine's day 1979, the original trio (Larry Coryell, John McLaughlin and Paco de Lucia) performed one of the most memorable concerts ever at the Royal Albert Hall in London. This unprecedented meeting of guitar virtuosos from very different musical backgrounds came together as one of the ultimate improvisational studies in history, second only to Miles Davis's Bitches Brew. The DVD of this concert "The Meeting of the Spirits" is available from Netflicks.