When I first learned the Mixolydian mode, I found it elusive to incorporate into my improvised solos.
For those unfamiliar with Mixolydian, it is one of the seven modes of the major scale. Each mode is derived from the same sequence of half steps and whole steps that make up the major scale’s structure, but starting on a different note, which serves as the root of that unique mode.
For example, the C major scale comprises the notes C, D, E, F, G, A and B. The formula for the major scale is based on the intervallic distances between these notes. As there is a whole step between C and D and another whole step between D and E, the formula for the scale begins “whole,” “whole,” often indicated as “W W.”
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If we reckon all the intervals of the major scale, the resulting formula is W W H W W W H, with H signifying a half step. The harmony inherent in the scale/mode is derived from the first, third and fifth notes (1-3-5). So, in C major these notes are C, E and G, which form a C major triad.
The C major scale is also known as the C Ionian mode. If one were to start on the second scale degree, D, and think of that as the root note, or tonic, the note sequence would be D, E, F, G, A, B, C. This is known as the D Dorian mode. Continuing this process, D Dorian is followed by E Phrygian, F Lydian, G Mixolydian, A Aeolian and B Locrian.
Figure 1 shows the G Mixolydian mode: G, A, B, C, D, E, F. The harmonic color, or flavor, conveyed by it is G7. For myself, I did not find it appealing to just play the notes of G Mixolydian over a G7 chord; it was not a sound I found to be compelling.
I was aware of all of the modes and thought that, since G is the fifth degree of the C major scale, maybe I can superimpose all or some of the triad arpeggios built from C major over a G7 chord in order to find another approach to using G Mixolydian.
Figure 2 illustrates the seven triad arpeggios that live within the C major scale, followed by a bluesy lick built around a G major triad (G, B, D). These are also the triad arpeggios of G Mixolydian.
A great way to explore using this approach is to jam over a G7 vamp and alternate between playing familiar blues licks in G and short phrases that outline these triadic forms.
Figure 3 presents a stock G blues lick. In Figure 4, I improvise over a G7 vamp, purposefully moving through the related triad arpeggios, starting on bar 1 with Dm and C, then descending to Bdim, Am, G and F. I then wrap up the phrase with a G7 blues lick.
Figure 5 offers a more ambitious example of this approach, again alternating between bluesy G7-flavored licks and the related G Mixolydian triadic forms, with a little chromaticism added in for a more interesting sound.
This approach offers a great way to unlock new sounds based on G Mixolydian while also opening up your fretboard vision and knowledge.
