The language of music is universal, connecting hearts and minds across cultures and generations. 

Among the many elements of this language, scales form an indispensable part of the vocabulary, providing the foundation for melody, harmony, and the art of improvisation. 

The Mixolydian Scale is one such intriguing scale that has been embraced by guitarists worldwide for its versatility and unique tonal character. 

In this blogpost, we’ll journey through the Mixolydian scale, understand its formation, appreciate its unique tonality, and learn how to master it on the guitar.

Discovering the Mixolydian Scale

Before we delve into the details of the Mixolydian scale, let’s familiarize ourselves with its basics. The Mixolydian scale is one of the seven diatonic scales, also known as modes. Each of these modes, rooted in ancient Greece, possesses a distinct character and tonal quality.

The Mixolydian mode is the fifth mode of the diatonic scale, which implies it commences on the fifth note of the major scale. If you consider the C Major scale (C-D-E-F-G-A-B), the Mixolydian scale begins on G (G-A-B-C-D-E-F). This feature is crucial in understanding the underlying structure of the Mixolydian scale.

In terms of intervals, the Mixolydian scale follows the pattern: Root, Major 2nd, Major 3rd, Perfect 4th, Perfect 5th, Major 6th, Minor 7th. At first glance, it may seem identical to the major scale. 

However, the critical difference lies in the seventh note, which is a minor seventh in the Mixolydian scale rather than a major seventh as in the major scale. This change imparts the Mixolydian scale with its unique, dominant sound, often associated with blues, rock, and jazz music.

 Playing the Mixolydian Scale:

To play the Mixolydian scale on the guitar, you’ll need to understand the pattern of intervals that make up the scale. In the context of a major scale, it can be seen as:

Whole, Whole, Half, Whole, Whole, Half, Whole

In other words, there are two whole steps, a half step, three whole steps, and a half step between the notes. This pattern can be moved up and down the fretboard to play the Mixolydian scale in different keys.

Let’s consider a practical example. To play a G Mixolydian scale, starting from the 3rd fret on the low E string (which is a G note), the pattern would be:

G (3rd fret, E string), A (5th fret, E string), B (7th fret, E string), C (8th fret, E string), D (5th fret, A string), E (7th fret, A string), F (8th fret, A string), and back to G (10th fret, A string).

Mastering the Mixolydian Scale on Guitar

Approaching the Mixolydian scale on the guitar isn’t merely about committing patterns to memory. 

It involves understanding the relationships between the notes, how they interact, and how they can be leveraged to evoke certain emotions or moods in your music.

Let’s now dive into how you can play the G Mixolydian scale on the guitar:

This pattern represents one way to play the G Mixolydian scale. To practice, play this pattern up and down the fretboard, ensuring you start on the G note each time (in this case, the 3rd fret on the low E string).

If you wish to play a Mixolydian scale starting on a different note, simply shift the entire pattern along the neck of the guitar. For instance, to play an A Mixolydian scale, you would start on the 5th fret of the low E string (the A note), and then follow the same pattern.

Sound of the Mixolydian Scale

The Mixolydian scale is renowned for its ‘dominant’ sound, which is primarily due to the presence of a minor seventh interval. This minor seventh creates a sense of tension and release, making the Mixolydian scale a popular choice for blues and rock guitar solos. Furthermore, the scale is frequently used in jazz, folk, and even pop music, underlining its versatility.

The Mixolydian scale

The Mixolydian mode, also known as the dominant scale, is the fifth mode of the diatonic major scale. It is similar to the major scale, but it has a flattened 7th note. 

The Mixolydian mode is often used in jazz and blues genres, and its compositions often have a somewhat melancholy sound. The Mixolydian mode uses the formula of whole and half steps as follows:

W – W – H – W – W – H – W

In the key of C, this would result in the following notes: 

C – D – E – F – G – A – Bb – C

The major scale, on the other hand, has a raised 7th note compared to the Mixolydian mode, which results in a different sound and feeling. The major scale is the basis of Western music and is often associated with a happy or bright sound. The major scale uses this formula of whole and half steps:

W – W – H – W – W – W – H

In the key of C, this would result in the following notes: 

C – D – E – F – G – A – B – C

Therefore, the primary difference between the Mixolydian mode and the major scale is the 7th note. In the Mixolydian mode, the 7th note is flattened (or lowered by one half-step), while in the major scale, the 7th note is not flattened.

Incorporating the Mixolydian Scale into Your Music

The Mixolydian scale is a great tool for adding flavor to your solos and improvisations. Here are a few ideas:

Over Dominant 7th Chords: 

The Mixolydian scale works exceptionally well over dominant 7th chords, as it includes the major third and the minor seventh, which are the defining tones of a dominant 7th chord.

Creating Tension: 

The b7 note of the Mixolydian scale can be used to create tension that resolves to the root note of the scale, adding a dynamic quality to your solos.

Mixing with the Pentatonic Scale: 

You can blend notes from the Mixolydian scale with the minor pentatonic scale to create a richer, more varied sound.

Free Guitar Lessons Here

Conclusion:

In conclusion, the Mixolydian scale is an essential part of any guitarist’s toolkit. Its unique tonal qualities and versatility make it a powerful tool for improvisation and composition. 

As with any scale, the key to mastery is practice. Spend time familiarizing yourself with the scale in different keys, and experiment with incorporating it into your music in new and creative ways.

References:

1. Haley R. Music Makers: Guitar-Build It, and They Will Come //Canadian Music Educator. – 2009. – Т. 51. – №. 1. – С. 40-41.
2. Fradd D. Guitar. – Alfred Music Publishing, 1975.
3. Hall S., Manus R. Scales & Modes for Guitar. – Alfred Music, 1996.

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