Very good explanation of the mode and the chord and their connection. New info to me to be sure. Thanks so much this really helps in understanding modes.
You are SO welcome QBRX 2157. This is the way I began to understand modes, and the way I teach my students (with great success). Hope it works for you!
@@curiousguitarist I think that learning that the mix mode has a flat 7th is easier than remembering that it starts on the 5th degree of the major scale.
Dude! Another excellent video! You nail explaining things succinctly and in a way that actually makes sense... It literally took me so long just to understand this is simply the major scale with a flattened 7. Gosh where were you so many years ago?? Thanks!
As always a great lesson and new way to gain understanding, people are always asking who are your guitar heros and you get the standard , Clapton, Page Hendrix act, for me it was my Dad who could only play a few chords and taught them to me, gave me my first guitar which planted a seed and Chris who has been watering those seeds, again thank you for all you do !
Another great vid Chris 👍, can you explain one thing. In this progression it's in key of A maj, the fifth would be E dom but in this progression it's E minor? If it's a E dom I understand that you would play the E mixo mode as it's the fifth mode in key of A maj but not sure where the E minor comes from and how the A mixo plays into it. Hope that makes sense. Thanks, Charlie
This example is NOT in the key of A major. It's A Mixolydian which is generated from the key of D. Think D major and it should all start to make sense. This is the exact reason the modes get murky...you're mixing up a couple of "lenses" that you can see the modes through, which actually don't play well together... 1) Derivative: A Mixolydian is made up of the notes from D major. A Mixolydian is "derived" from that scale. 2) Projected: D major is the actual key we're in, but A is the "tonal center" it's where you hear "home base". A Mixolydian is a projected home base in this instance...but we are definitely not in the key of A. 3: Altered: A Mixolydian can be created by altering an A major scale. Simply flat the 7th degree and you have the A Mixolydian mode. All three of these "views" are correct and accurate, but they don't share a common core mechanism. And in fact each one asks you to completely alter your cognitive context. It's rough! I hope this helps in some way. Happy to try and clear it up again if this does not help! -Chris
@@curiousguitarist yes that makes sense being in the key of D that the A would be the fifth and the A mixo mode. I'm still learning all this theory stuff and being you can view it from many different angles it makes it a little confusing 🤔. A big Thank You goes to you Chris👍, alot of RU-vidrs would not take the time to respond much less explain things in depth so a sensier heartfelt Thank You again for your kindness!
Hello Chris, hope you are well. So, I've been playing Straight Ahead~Jimi Hendrix and as i was playing the solo especially from Berkely version I am trying to break it down and asking is it E mixolydian?
I love the fact that theirs never any B.S. with your lessons. You explain a topic, break it down so the learning musician can grasp it. Then!! you back it up with logical examples.., " The Van Halen " Dave and Edward Example is brilliant when you look at the musical piece as a whole and not just as a guitar piece. I've said it before!! we here in your guitar playing community are blessed to have your un-selfish knowledge being shared with all of us! Thank you! sir!
The trouble I’m having is recalibrating my brain for a different mode. I know the major scale pretty well up and down the neck and in any key. Like playing the same pattern but missing those target notes, especially the flat seven. Practicing today for around an hour, I was definitely hitting a ton of clunkers
Try these and see if it helps… Learn the Modes: The Easy Way! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v01pGRHdng0.html Modes Have Triads Inside Them?! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-nPAzKm2PKLE.html And if you’re interested I teach a modes mastery class every year, you can get more info on my Patreon page.
If you add the flat 5 to the mixilydian mode it does add an additional tri-tone. And yes, mixolydian works great along with minor pent and blues scales in the blues genre.
Thanks Chris for this very informative lesson! I’ve been looking forward to this Mixolidian lesson and your demonstration opened my eyes AND ears! Great job!
I figure without hearing them, the modes are basically useless. Indeed you can hear them and use them without know what they are, but having BOTH seems like the real win eh? Thanks for being here, Dave!
Hi Chris, I only started using the myx recently, straight away I could hear & feel the vibe, the light bulb moment & it's so addictive. Great job , good man Chris.
I have seen Santana, SRV, BB King use the mixolydian scale ONLY over half diminished, full diminished chords. Can you make a video lesson about this because I would think using the mixolydian scale would "clash" with half dim and full dim chords.
Clash is subjective. I use the half/whole diminished over dominant chords in specific instances, and the whole/half over minor chords in some cases. But either of those create a ton of tension (clash) and as long as you're in control of that tension, then it's fine.
@@curiousguitarist yes but playing mixolydian over half dim and full dim is going to clash tension because certain scale degrees over half dim and full dim are going to clash tension. I'm not sure why blues guitar use Mixolydian scales over half dim and full dim because its technically not the correct scale to use?
As ever, fabulously illuminating lesson, particularly on these Modal topics that are simple, but have the prickly habit of staying opaque until someone clears all the fog away. Well done, brother, well done.
Soundgarden / Black days ! Been learning some of their songs. Whole lotta grunge in that sound Pieces of it anyway Your awesome 👏 I’ve learned so much from your teaching, truly
Fell On Black Days is possibly my favorite rock song. Ever. Like if I could only listen to one, that would be it. Followed by the entire Fair Warning album...but 'Black Days tops them all for me. Glad you're here 'Flint!
Wearing a Gibson shirt playing ac/dc on a strat. You don’t tea bag, you potato sack. Lmao. great lesson I’m having a lot of trouble with major and modes, I’m so use to just playing blues with minor pentatonic that I can’t figure out how to use happy sounds lol
Well if you're looking for non-happy Mixolydian actually can be a pretty somber-sounding mode if used over a slow tune and really focusing on the flat 7th. I love the potato sack comment!
The Louie Louie example would have made so much more sense to me if the A chord was played as a dom7 (since A mixolydian is fundamentally the 5th mode in the key of D major, yes?). But it was the Emin that gave the mixolydian flavor, which introduces a G note, which is the 4 in D major. So combining the second interval with the fourth interval in the major key to produce the flavor of the 5 interval - that’s confusing. What am I missing?
Sounds like you might be over thinking this one… A maj ( not dom7, no need to give it away yet) D maj…4 chord…no problem Emin..that G note pulls the whole thing together when we resolve back to the A maj. It’s perfectly subtle.
Me overthink? Pah! :) I try to relate modes back to the notes in the major key it comes from, so I can make sense of the structure but sometimes it kinda doesn’t make sense
@@SyntagmaStation that's is so descriptive of the way modes are. There are a few different "directions" you can look to modes from. The three that create the most confusion is what I would call "derivative" "altered" and "projected". So derivative would be: A mixolydian is a way to express the key of D with a focus on A as the tonal center...turns those SAME notes into a dom7 tonality. Altered would say: A mixolydian can be generated by taking A major and flatting the 7th. Thus altering the tonal center by changing that note (and key). And projected would be: A mixolydian is seen as the tonal center independent of the parent key and treated as the harmonic source for the "one" chord. Trying to make sense of these is much easier if you look through one lens at a time :) Hope this helps!!!!!
@@curiousguitarist Chris, it does help. My personal viewpoint is that modes create a ton of confusion, in part because many teachers describe modes as a key in themselves (E.g. “we’re playing in the key of Em today”). If you know what modes are, then you wonder “Does that mean we are working out of Gmaj, Dmaj, Cmaj? How do I get my bearings?” For me, modes started to make sense when I started thinking of them as chord progressions rather than scale patterns. But modal progressions require a lot of calculation and reference, which doesn’t always work out in the way you would think. Sometimes, 2+2=5 and it gets bewildering. You’re doing a great job of making it more understandable. Appreciate you.
I love it . I didn't say stop! Mixa what mode ? mathematical here we go with those numbers again, what is it about you and numbers. I am trying to playing notes not numbers haha, seriously great explanation , it is crazy all these different terms, It is amazing how much information you can put into 17:10.. Thank you so much for this.
Jen I was thinking about this reply (which I love). Playing numbers is a great metaphor! When you play scales or chords what ARE you thinking about? Note names will inform you and guide you through choices about what key you're in, but the numbers (scale degrees) are independant of any specific key so they are much more flexible and mobile. You can move them and use them, the way they are, in ANY key. I'm inspired by this comment, Jen. I'll be making a video about this specifically...can I mention you as the inspiration?
@@curiousguitarist I love you damn your married haha of course anything for my favorite music teacher, You know that is an interesting point, I often ask myself that exact question no matter what I'm doing. as for music I am listening more than thinking. Imagining the mood or something ,like the sound a bird makes when it sings or the sound of a car moving on the highway. things like that, well to be honest I have been thinking about the notes that make up the cord, what note is what number , I can't explain it as well as you but ya you have me looking at this totally different and I like it. your the best . jen
the problem with listening and not thinking where I am going, I either end up being repetitive to be safe ,yet boring of hoping I choose the right note,which leads to apprehension, It sounds like i am falling behind in the timing. knowing where I am going makes life a lot easier, and it sounds better. Like drving somewhere new and then closing your eyes and hoping you don't crash and burn. no not that great song by the same title by Pat Travers group. So ya this has been quite an eye opening experience. I don't think ,,oh no not again ,no seriously it is all because of you.I thank you kindly. jen🦋
