Download this track on Bandcamp: mwguitar.bandcamp.com/track/m... Chords: D - Am - C - G D - Am - G - G Produced by Jakob Betke #backingtrack #jamtrack #playalong
Ideas for soloing: On *D* chord: use *Bm pentatonic* scale On *Am* and *C* chord: use *Am pentatonic* scale on *G* chord: use *Em pentatonic* scale The reason this works is because the notes from the Bm pentatonic, Am pentatonic, and Em pentatonic scales all exist within the D mixolydian mode's notes (write them down or look them up and see for yourself), so all those notes should be safe at any time, at least theoretically. In fact, you can even play any of those pentatonic scales anywhere during the progression and still not be out of key. Remember that every diatonic key contains three minor pentatonic scales (or to put it another way three major pentatonic scales [the relative minors of each major and vice versa])
I agree that the chords in this progression are all found in the key of G, but that understanding of it is limiting. D is the tonal center of the progression, not G. The D Mixolydian scale is often thought of as a variation of the G Major scale. There's no danger to society in doing so, and we all go through that in the process of learning the modes - but it isn't. The mixolydian scale is 1-2-3-4-5-6-b7: D-E-F#-G-A-B-C. The D Dorian also works. The Dorian is 1-2-b3-4-5-6-b7: D-E-F-G-A-B-C. One can think of it as a variation of C major, but...taking the above caveats into account...it isn't. The D minor pentatonic also works (whereas the G minor pentatonic does not work). The G major pentatonic (G-A-B-D-E) could be said to work, but in this context it's really just behaving as the D Dorian with its balls cut off. Without the C and F, it's a eunuch. Of the three scales I've mentioned, only one can be derived from viewing this as a G major progression. By recognizing the tonal center as D, one can consider which of the various D modes might work over the changes, and three D scales/modes I've mentioned immediately present themselves. So, "Mixolydian Backing in D" seems to accurately convey that D Mixolydian is a good mode to use, and presumably Michael Wagner's purpose was to post a good track for practicing the D Mixolydian mode. Other D modes work, too, but to have titled this "Backing Track for in D Mixolydian, D Dorian and D Minor Pentatonic" would have been even more confusing (especially if one is viewing this as G Major progression). Calling this a "Backing Track in G Major" would simply be incorrect.
I love the fact that this academic discussion has unspun about the nature of that simple four chord backing track 😃 You’re making great points! The only thing I‘d slightly disagree with is that D Dorian works over the track. You could play Dorian only if the first chord was a D minor or could interpreted as such. But since there’s an F# in the bass line it’s clear that it’s a D Major. So it simply clashes with the F of D Dorian. Of course you CAN play an F, but only if you interpret it as a bluesy third and bend it up a little to the F#. Playing a pure minor third probably won’t sound good!
@@MichaelWagnerGuitar I appreciate your reply! I don't want to over-represent myself as a modes expert, so I could be wrong! But, yeah, I'm definitely hearing the F as a pure minor 3rd that can stand on its own (so to speak!) in this progression. I think that's why a number of folks in the thread are hearing the progression as "dorian." The F# also works well, of course, which is why others are hearing it a mixolydian. It lends itself well to either mode. I hear what you're saying about the bass, but if the bass and the lead were both playing the F note, the chord would become minor. The thing that gives the flat 3rd its bluesy sound against the major chord is that major/minor dissonance, which would be lost if the bass stopped representing the major nature of the chord. The D Dorian and D minor pentatonic both have that F, which is why they also work well over the progression. Anyway, those are my reflections! Thanks for a civilized conversation!
It's beautiful how everyone hears different songs in this. I hear Tom Petty - Swingin'. Great stuff!!!! I'm locked down in my home jamming along tonight. Cheers everyone!
That is definitely the song I hear as well. It's not one of Tom's most known songs, which is probably why most people aren't hearing it. What a shame, too, because it's a great song. But to anybody who has heard it, it is uncanny how similar they sound.
This is just great, thank you, get the looper app and you jam all day. I really like the Lydian scale, happy sound and this jam track is full of beans!
Wow this one's fab, thank you! Not only for Mixolydian, you can also play Dorian and blues, switching between those and Mixolydian... and in turn that means that rolling major 3rds into the blues/Dorian stuff is going to sound fab. I can see this becoming one of my favourites, cheers!
I had to think about that for a bit, but by Jebus, you are right. Ringo's song does have that droning guitar line thing going on. My initial immediate take was The Byrds playing Cinnamon Girl.
Yup... "It Don't Come Easy"... and it's even closer to that song if you play it at 1.5x speed. "Cinnamon Girl" as the other person commented and also "If It Makes You Happy" by Sheryl Crow. Quite a number of other familiar songs too if you start to think about it more.
This track sounds so incredibly similar to a popular non-mainstream adult contemporary song from the 90s that I just can't put my finger on. I can think of the vocal Melody, but no words. Very frustrating because I love that song
i wanna put up my walls.. you wanna knock em down.. your looking for a heartbreak! and I'm still spinning out.. anything is better knowing that forever isn't real.. but both of us still try anything is better then knowing that soon enough one of us is gonna say goodbye,.. dre
Very nice work, can I use this backtrack for create a guitar solo and then publish videos on youtube? In the comments of the video I would insert references to your work.
Now, that's the attitude I like to see, exactly. If I'd done this I'd love to see what it inspired out of others. One of the other background track guys was all kinds of bent out of shape about copyright infringement. First, I'm not sure how you can copyright a basic chord progression, without melody or leads or something unique, but whatever. His track was lovely and inspired the hell out of my best minor lead work, but no one's ever gonna hear it, but me. Why'd he even put it out there? Your attitude is "right" with me.
Great song to jam along! Thanks so much. I would like to point that it would be a good idea to call it a Dorian rock, instead of a Mixolidyan one. D Dorian Rock. :) Thanks again for the backing track!
Hi all, I'm having trouble figuring out why I can play licks containing an F Note and still sound good over this. I'm not too strong on my theory, but as far as I can tell none of the chords contain an F?
because we are all trained to love and play d minor pentatonic over a rock progression like this. Our ears love the f note over this, especially with a bend to G.
Well, D mixolydian is the fifth mode of the G Ionian. If you'll try to improvise with the track, you'll definitely find that the root is D.. G doesn't sound right. ;-)
@@viking2304 I still think that the tune is in G major, and that the G major scale fits perfectly all chords because all of them are diatonic to the key -- i.e. it's a V - ii - IV - I progression. Actually, the whole progression is V - ii - VI - I - V - ii - I - I, which reinforces G as the tonal center. One can play G major scale patterns that start on the D note, but it doesn't turn the tune into the D mixolydian mode (nor will using a shape that starts in F# make it a tune in locrian mode). Do the following experiment: let the tune play for a while; at the last beat of the last measure of the aforementioned progression (V - ii - VI - I - V - ii - I - I), hit the stop button and then play a D chord and let it ring. Now ask yourself: did it sounded right as the point of final rest or did it claim for a resolution going back to G? The latter is what I hear, but if you hear differently and feels like D would be the best resolution, I'm OK with that. But it's important to be sure about what a tune in D mixolydian means: a major key with the 7th degree of the scale (i.e. the major seventh) lowered a half step (i.e replaced with a flat 7th), so that the tonic tetrad will be a major triad plus a flat (minor) 7th (also, it's the flat 7th that will appear in some other diatonic chords that use the 7th note of the mixolydian scale).
@@caradogas i dig what you are saying, and i see that you know your theory better than I do. For my ear, the G tune fits as a root, but the D fits much better (in the same scale shape) which automatically makes the 7th flat (correct me if I'm wrong).
Did I hear Neil Young in there? Pretty sure I did, but he was playing Roger McGuinn's 12 string.. LOL This sounds amazing, (really AMAZING) but couldn't you have laid out the scale and positions for us trying to break out of the pentatonic crutch? Finding this was like dating Hollywood women. The promise and appearance are there, but in the end, there was no substance. LOL
@@kriscolvin8377 Go ahead and play Am Pentatonic over this (c Maj) it'll sound rich compared to D Pentatonic. If you know C maj scale, then play it up and down the neck. ;)
Because if you solo while thinking in G major your lines are going to constantly pull toward G, which is the 4th tone in this key center and a relatively weak note to hang out on. This is the main problem with trying to tie everything back to the major scale. Take the time and do the work to learn the 7 modes as unique scale sounds - you will not regret it!
The modes are simply playing a major scale, but starting on a different note of the scale than the root. Combine this with a chord of the same note you choose to start on, and you are now playing the major scale in a different way, or "mode". They go in order: 1)Major (Ionian) 2)Dorian 3)Phrygian 4)Lydian 5)Mixolydian 6)Minor (Aeolian) 7)Locrian. Each number corresponds to the note of the major scale you start on. For example, D Mixolydian is the fifth mode, so you would start on the fifth note of the G Major scale, the D. If you play G Major (Ionian, same thing) you think of the note G as "home". Your first chord will usually be G as well. If you swap out that G chord for an Am chord of some type, you can play the G major scale over it. The difference here is that now A sounds like "home", so instead of starting your G major scale on G, start playing at the second note, the A instead. This makes your G major scale take on a different sound, Dorian mode. And so on down the line. Signals Music Studio has a fantastic video on the modes. He puts on a C5 power chord vamp and then plays each mode in C so you can hear the difference. Note that these are all in C, meaning C major, C Dorian, C Phrygian etc. They won't be all the same notes, besides the root C. Still, it's helpful to hear the differences.
Hooverphonic - Anger never dies Grateful Dead - Morning Dew And so many more, best happy/melancholic scale Grateful dead uses this scale D-C-G-D progression and goes to D ionian scale F-C-Em-D.
You can look at it as g Ionian or d mixolydian. Same scale. If you look at it in the key of D the Amin is the 5min which would be that b7 sound of mixolydian.
@@gabecrockett8863 No, man. Mixolydian is a mode, and this track has a cadence, so it is not modal, it is tonal. Maybe with emphasis on its 5th degree. But modes are modes and they are very different from the degrees in a tonal harmonic context.
@@gabecrockett8863 Let’s take Sweet Home Alabama as an example. Would you call it D mixolydian or G major (remember, G major and G ionian are NOT the same thing)
