If you like these lessons, definitely check out www.zombieguitar.com/ It is a one-of-a-kind site dedicated to helping guitarists to understand the fretboard and create their own music. You will love it!!
For whatever reason, you have the gift of teaching this stuff. Others might be fancier, bigger ego, etc.., but you really nail it comprehensively in a way that makes it easy to get my arms around. I already know this stuff, and have thought about in different ways over the years, but your method is the best I've seen on RU-vid.
Thanks so much. I don't believe that you have only 60K subscribers. Just to let you know, you have helped me more than you think. Thanks for your time. You rock.
Just discovered this video. I have a pretty good knowledge base for theory and modes etc because I’ve had some really good teachers. I’m saying this because this is one of the best videos on mixolydian mode. I’ve never had the chords explained to me so clearly. I think that’s always the hardest thing,which is to know when to play it other than on a mixolydian jam track. Also the fact that you made a great point about focusing on the chord tones also. Thanks for such a great video.
Excellent theory lesson. I've always liked the modes but didn't understand the usage. Thank you, this was extremely helpful. Great demo at the end.........👍👍👍
i've always hated the modes. i didn't understand them properly or how to use them. i've always thought they were some kind of stupid exercise all the music teachers had to cover. through this and some other vids i'm starting to see the light. i'm particularly liking mixolydian.
Jeez Brian you just explained the whole thing! Man if your channel had been around when I was startin out I'd have been found floating face down in my guitar-shaped swimming pool a long time ago! : )
12:31 my nickname for this is Major Mixolydian. Chords in A Major Mixolydian accoording to my own chart: A Bm C#m D E F#m G ^ borrowing the III from major, since mixolydian should have a C#°. And playing a C#° on guitar? No, thank you, so we borrow the C#m in A Major. Hence, substituting that III from major makes it _Major_ (where the III comes from) Mixolydian. My two cents.
Hi Sir! I am one of your subscribers that lead me into an inspiration to do a guitar tutorial vlog. If you don’t mind me asking which app are using or any idea you can suggest me to use showing chord patterns on video while i’m teaching. I hope your help will be extended upon this inquiry. Thanks and more power.
Excellent video if you know a little about modes in the first place. Really brings it all together. Would be tough for those with less music theory knowledge. Anyway an amazing amount of information clearly presented in one compact lesson. Thanks! Highly recommended!
@@zombieguitar Yes, I checked out your site, it's great! Just said that in case someone stumbled across this lesson that had less knowledge. Thanks again!
Can't forget "plush" by STP. That song sort of defines the mixolydian feel. Once you know what it is, it even sort of feels like they're milking it. To everybody else, however it just sounds so original. Great use of a modal progression. imo
I wonder if you ever wondered about something like that: let's take a whole tone-half tone eight notes scale and now find the answer to the question which degree should be omit to get an interesting,unusual seven diationic chords?
That's a pretty basic beginners explanation of the mixolydian scale. Of you're going to say all about mixolydian you should so how the mixolydian is used in blues or jazz or how the mixolydian is incorporated overtop of dominant 7 chords. It is definitely a good video for beginners though. You should also show a few more examples of you actually playing the mixolydian scale.
A great video. Mixolydian is my BFF. *lol* Brian, you have a fantastic channel, and your obvious hard work is greatly appreciated. You're worthy of many more subs, and they will come.
i like brian's presentation style as well. no ego. super laid back. he's putting out the higher level stuff we're all looking for, but in the most matter of fact and down to earth way.
man I've watched numerous videos about modes etc and this one has just open the door for wide open. Brian you rock. You should have more followers and views, I'm not saying I don't enjoy some other you tube tutors but you break it down so well, I feel like you're talking to me and not the camera like some other guys do
I've been playing guitar for several years and first of all I would like to say that I wished I met someone like you 20 years ago. The second thing is that I really think you deserve more subscribers. You make everything so easy to understand.
It's fun to relearn stuff like this, isn't it? Me personally, I've learned each of the (main) modes _many_ times throughout my life, but I can never seem to remember more than a few months to maybe a year at a time. That said, I sort of do it on purpose. For me, knowing a music theory concept is not even one tenth as fun as learning that same concept. At this point, most of this stuff is getting pretty much impossible to forget. I still enjoy learning things I already know from different points of view, if that makes sense. Actually, I'm curious. Am I the only one out there who enjoys learning guitar more than playing?
@@natetolbert3671 ha i like both learning and playing, but let me ask you, what styles of music do you enjoy playing most? i'm mostly a deeper cut classic rock guy, ichuck berry, the stones, some beatles, tom petty ... i'm getting the distinct feeling the most practical mode(s) for my style (other than the two fancy names for the major and natural minor keys) is the mixolydian mode, and maybe just a bit of dorian. have you mostly done modes for the pleasure of doing them, or do you find some to be really useful and others not so much?
Man, great info! I like how in depth you go…I’ve never had any of the modes explained quite like this…it was always “here’s the pattern of the mode, got it? Great…moving on…”
Wow, was this helpful for me. So many light bulbs went on as I watched this lesson. I’ve known bits and pieces of this but you really tied it together to make sense of these concepts. Thanks so much.
Dude I have had teachers I paid for and I have bought so many different methods of lessons and seriously, the way you explain EVERYTHING is by far the most simplistic and subtle way to understand concepts. You ae awesome and I really appreciate what you do man. Good stuff.
Wow. Hi Brian. This is the most complete and clear lesson on this topic I have found. Extremely helpful especially with the examples. Will have to tune in to more videos to see if you start singing....I have a feeling you have an undiscovered voice in there....just a hunch. :) thank you
Sympathy for the Devil by the Rolling Stones is another great example of this. The progression is (I)E. D (IV)A (I)E. Great video, I was wondering why D major was thrown into this progression and how it tied into Mixolydian. Now I see they are using the same trick!
Hi Forrester- Funny but I just noticed your post after I posted a comment about Sympathy for the devil as well. I had noticed that the chord progression for Hey Jude was identical to Sympathy with the exception that Sympathy is in E major.......however I found that if I tried to play a mixolydian lead over Sympathy - it didn't seem to work at all? I could be wrong - but do you have any thoughts on this?
@@tefenstrat yes I can help! Not an expert on lead guitar or theory, im actually more of a rhythm player. But basically the trick is to switch between major and minor scales but using the same root. So switching between E major and e minor. Its super easy bc you find the regular emaj pentatonics, then literally slide the same box up and do that same scale, only the minor one is gonna be super mixolydian/bluesy
@@tefenstrat if you wanna demonstartion legit just type in on youtube “How to switch between maj and minor” or “how to do modal-mixture”. Legit just saw a few vids on it and it changed my lead playing entirely
Thanks, Brian for all the "lightbulbs" that went off for me during this video...so far all your mode videos create this clarity in area i find hard to comprehend....and thanks for the mixolydian tracks on your website....was wondering if you have any videos on this apparent youtube debate about whether mixolydian and blues are compatible ?
As of now, I don't have any specific vids on that topic. That sounds interesting though. My thoughts on that are the same as all other topics...stop worrying about scales so much. The magic is in the chords. Applying this to blues...treat each chord in a 12-bar blues progression as a dominant 7th chord. Target the chord tones of the 1 3 5 and b7 of each chord...get the hybrid major/minor sound by also including the b3 and the 6 interval of each chord and voila! No need to be thinking "scales" at all...thinking "chords" will produce much better results in my opinion! Here's the lesson that I have about this: www.zombieguitar.com/blog/4-approaches-to-soloing-over-a-12-bar-blues-progression
@@zombieguitar Hey thanks for the sage advise...your answer is a lesson in a paragraph. This steers me in the right direction...i tend to have "next shiny object syndrome" :)
This is the most effective explanation of modes I have come across. The Relative method Brian outlines is the one that works the best for me. That and knowing how to establish the scale relative to, in this case the mixolydian, has finally brought me peace, after years of confusion. Greatly appreciated.
Great lesson. Sometimes it's tough to determine a mixolydian sound. Both AC/DC and the Allman Brothers use it a lot, yet they have totally different sounds.
i'm no expert on the modes, but i think what you're experiencing is that mixolydian can be used with a major focus or 'flavor' or a minor one. the allman brothers, jerry garcia and the like are more 'major-ey', acdc would be more 'minor-ey'. youtube search up 'the mixolydian pentatonic scale' ... it's very head bangy shreddery (not my cup of tea). i also get the feeling that dorian mode has a lot in common w mixolydian mode, it's just more minor due to it's minor 3rd, mixolydian using the major 3rd. i'm a fledgling on all this and very open to correction, but hopefully i've explained the difference in a mostly correct way :)
mr kelly, this is the holy grail mixolydian lesson. you really explain all the important aspects of it, and tie those pieces together so well. you make look easy what is actually quite hard to find out in youtube land: the mixolydian lesson that shows both how to recognize mixolydian music when you encounter it, and what to do when you do. ie this lesson is not just some exercise, it's a short and straight path to understanding this mode and then using it effectively in your playing. sssu bscribed! thank you for this lesson.
Brian, very nice Im only a few minutes into your video and you already have taught me much more than the other videos I have watched about mixolydian -very nice job.....so I noticed the chord progression for hey Jude was virtually identical to sympathy for the devil- on the stones song starts on E major. However playing a mixolydian lead over that song doesn't work at all....why not ??
Can you see my whole question? I am still not sure why sometimes when I post comments part of it gets a line through it...like they have scratched part of my comment out? Can any body answer this question?
Lol when I want to play G mixolydian I just play the c major scale. Or if I want to play a mixolydian I just play the D major scale. Or so on and so on.
I wanted to learn about mixolydian scale so I searched "mixolydian brian kelly" into youtube and here I am. Brother your name has brand power. Oh yeah and "ZOMBIE GUITAR PROJECT" beee-otch (Dave Chappel voice over)
As a retired beginner with no musical background modes was one of those msny music theory things I had to learn. The way I think of it is in the G mixolydian the sequence would be G-Am-Bm dim 5-C- Dm-Em-F. Same chords a C Ionisn. Am I even close in my thinking? Love your lessons Brisn. Thanks for taking the time.
Yup, that's exactly right. Not only does "G Mixolydian" share the same notes as "C Ionian", but also the same 7 diatonic chords. The problem is that as you add more chords into a progression, the less likely it is that the progression will be "modal". The ear tends to hear things as simply major and minor keys as more chords are introduced.
I've really never tried to play lead guitar seriously until now and with this lesson I'm playing lead licks that are sounding very good. Thank you Brian
i just wanted to find a simple list of all the possible chords in mixolydian but apparently this information is nowhere in the internet. That's how major/minor-centric western music is... apparently
The chords found in Mixolydian are the same 7 chords that are found in a major key or minor key. There are exactly 3 major chords, 3 minor chords and 1 diminished chord.
if you are still interested, check out this link: (some of the notation is tricky, but the info is there). ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-TRpWYb45ULc.html
@@zombieguitar yeah, but take a quick look here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-TRpWYb45ULc.html the notation is a bit confusing (thanks jazz), but i think this is what GS was looking for. also take note of the far right chord on the mixolydian line. bVIIM7. i believe that's their stilted notation for bVII maj 7th. (they always included the compatible 7 chord-optional) brian, i believe they're indicating the major chord a whole step down from the tonal center chord, just as you explained in your video. any thoughts?
@@jimdiskin3760 this whole modes thing really is much simpler than a lot of people make it out to be. Take a key signature. Let's say the key signature of C major. You have 7 diatonic chords. C major D minor E minor F major G major A minor B diminished If you designate the C major chord to be your tonal center, and label it as the "I chord", then it is the Ionian mode. If you instead designate the G major chord to be the tonal center and label it to be the "I chord", then it is the Mixolydian mode...same chords, same notes, same everything. This also applies to the 7th variations of each chord too. The problem arises when you attempt to use too many chords in your progression. The more chords that you use, the more likely it is to sound either Ionian or Aeolian. However if you limit your progression to just 1, 2 or maybe 3 chords...making sure to include the "characteristic chord combination" for Mixolydian (I - bVII...which would be G major - F major in this key signature), then the result is a Mixolydian progression. It's all the same "stuff" as C major. You're just revolving all the "stuff" around the G major chord instead of the C major chord.
@@zombieguitar yes i am actually really starting to get it now. i find all of music theory to be very cyclical. and often times you are chasing your own tail in circles thinking you're a genius all the while. other times it takes a couple of circles and some alternate paths to finally get to an understanding that works for you. i think the 'standard' way of teaching the modes is woefully lacking. hence such widespread confusion. yes, you take a C major scale and start it from C, then D, E, F ... ok. that needs to be shown, and the idea that they are actually modes and not new scales, fine. but immediately after that you have to forever disassociate D from dorian, E from Phyrgian, F from lydian, etc. there's no valid association to any one note over another note to any particular mode. that stuff just explains the iterations, how the modes are derived. if those ambiguous associations to the deriving notes remain it causes confusion later. next it's important to discuss the fact that the reordering of the notes also results in a reordering of the chords, and how that reordering affects the feel (modality) of songs in that mode. examples need to be given. lacking an explanation of the chordal reordering and it's effects, many students will be left thinking 'ok, you just start playing the same old scales from different notes. who cares?, it's easy to do, why bother?, and why should i learn these stupid names?' tying the interdependence of the 'new' chord progressions to the new note orderings upfront is a very important step in justifying modal study. then, even though they are modes, they do need to be thought of as scales - scales that have familiar chord types but orderings of those chord types that are unique to that particular scale. then and only then do you start practicing a particular mode as a scale and also playing that scale along to chord progressions that go with that scale. yes, they're modes. but in practical reality they are used as scales that have complementary associated chord progressions. in my mind, only by getting to the point where you can think of them in this practical, familiar way can you start to make proper sense of them and begin to make good use of them. does any of this make sense? it does to me. and it seems to pretty much outline the way you are teaching this material brian. i very much welcome your corrections and comments if any. from others as well.
@@arosonomy I wanted to see what you were asking. I always help out in the comments. No need to look elsewhere. A very good indication of a Mixolydian progression is a major chord followed by another major chord that is one whole step lower than the first chord. The characteristic chord combination for Mixolydian is I - bVII. This is all explained in this video that you said you only skimmed through. This is why I asked you to confirm what you were talking about when you said ii - IV?
bro ,,i am glad to NOW ,,,,see what i HAVE BEEN doing all along,,,,, and did not know that i was doing it ,, now i know what .i was doing ,,cheers mate ,,see i play by ear ,,and go so confused when the scale works as i play and then it does not,,, basically learn one scale to perfection all over and then play the changes ,,,great instructions bro ,,,man to man ,,big help,trus me ,,one love
