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The Wonder Scale - Mixolydian b6

The Wonder Scale - Mixolydian b6 We are talking about one of my absolute favorite scales is called mixolydian Flat 6 and it is exactly how I described. It is a mixolydian scale.

Transcription

Please note, this transcription was computer generated and has not been checked for errors. However, I do hope you find it helpful. Be sure to check out The Ultimate Modal Poster!

Hey, welcome back to another lesson today. We are talking about one of my absolute favorite scales is called mixolydian Flat 6 and it is exactly how I described. It is a mixolydian scale. But we've just flat at the six note. You can also think of this as being the fifth mode of the melodic minor scale. So if you take an average melodic minor scale and begin playing it starting on the 5th note, you'll end up with the same set of half steps and whole steps. I really really like the scale. It's got a wonderful tonality to it a wonderful feel to me. It's kind of like a Wonder scale like an awe, Inspiring scale there's a lot of floatiness a lot of Disconnect in this but a lot of cool emotions kind of floating around here. So one way to think of it as like half major in half minor and let's just kind of work our way through it here.

We basically have a 1 a 2 a 3 a 4 a 5 and a flatted 6 and a flatted 7. All right, and then we can come back to our route. We have our 1 2 3 4 5 Flat 6 flat 7 and then our route and our major second major third, so In here that the first half of this is fairly major those first five notes are just screaming out major scale 1 2 3 4 5 but that flatted sixth makes a huge difference in the way the scale feels just going up and down that that's that's a pretty neat, you know a little sequence right there just going up and down gives a little bit of mystery, you know Majors very happy very bright and that major third can actually sound pretty mysterious if you surround it with that flatted. Like we're doing here.

Okay.

So essentially what I want you to think about doing is figuring out the chords that are available to us in this scale mixolydian Flat 6. And when you do that, you'll see that we're allowed to play a major one chord.

We're also allowed to play A Minor four chord.

We're allowed to play A Minor five chord and we're allowed to play a major flatted 7th chord.

Those are the only major and minor chords we have access to in this key we have access to quite You diminished chords as to diminished chords we have access to and there's also an augmented chord built off the 6th fret diminished chords and augmented chords are traditionally pretty hard to use when you're composing. So I'm not going to worry so much about those right now between those two I think your augmented is your best choice. I think in the key of A, for example this F augmented actually works fairly well coming back to the one chord of a major. So this is my 6th chord F augmented resolving back to my 1 chord A major and you're already starting to hear. A little bit of what this scale sounds like when you start mixing in the chords. All right, I think the best place to look is your one chord to your four chord. So that's what I want to start with. Let's take our 1 chord which is a major and I want you to listen to how that sounds like going into the four which is D Minor.

All right, so we're going from an A major chord to a D minor chord and you can hear that's a pretty sad strange change right now. I don't want you to get confused. A lot of people might hear that minor four chord and think I'm just borrowing it from the parallel.

And I did a lesson on this on the plague or change the minor plague or change where you're just going from the 4 to the 1 and really that's not quite what I'm talking about here. What I'm talking about is literally staying in one key. And in that key. I have an access to a major one chord and a minor four chord and when this minor four chord comes up, I'm not going to change what notes I'm playing over the top of it as a lead player. I will continue only playing the notes of mixolydian Flat 6 over this chord progression and you can down here very briefly. I'll try to do it here just on my guitar here is like an a major.

And then here is some of the notes of the scale. All right, so I got the cord and I've got some notes of the scale.

Here's my four chord D minor and there's the same notes right there.

So right now I'm kind of combining the chords and the notes of the scale.

I could also do kind of the same thing here. Let's just pedal on an open a all right. Here's just an open a string and what I'm going to do is start playing the scale.

At open a ringing out and you're going to kind of hear what it sounds like as I start putting those notes together very reminiscent of theirs that system of announce on thinking of is mesmerized. I think it's gone, but that has a major 7th in it.

We don't have a major 7th. We have this flatted 7th. All right.

So I really like the way this this scale feels especially when you start stringing together the chords that one to four chord I think is just absolutely Priceless.

So what I'm going to do, I've got a little Jam track going on here and it's just literally that it's a major to D minor and then sometimes what I do is I keep the A on the base. So the entire time you'll be hearing a on the base underneath the eight major chord and underneath the D minor chord and that adds to this is disconnected feel that we're getting So check it out. Here's a major they on the base and then here's demining with a still got that booming.

And without me even playing the scale on top of that. I think you kind of get the idea that this is a unique characteristic for a scale, you know compared to something like minor that's just dark or major. That's just bright this to me has a very distinct feel all floating Between Worlds kind of feel but I will say that is distinct it as distinctive as it is. I still sometimes confuse my ear when I'm just hearing somebody do modal interchange off of a minor four chord, for example, if I'm in the key of a major and somebody decides to shift into the parallel minor key of A minor while they borrow the four chord that would sound like this instead where that third note of the scale all of a sudden becomes a flatted 3rd instead of a major third like in our in our scale a lot of As will accommodate this minor four chord by shifting into a minor and then all the sudden you lose access to that major third. So they're very similar feels, you know, the idea of using modal interchange over the four chord and this idea of mixolydian Flat 6 staying in that key. Those are extremely similar sounds but with practice and with composition working on the more you work with the stuff the more familiar you will be with those sounds and I really really advise writing something with this. I think it's very easy to just get anything good sounding just by using two chords. Okay. So let's listen to the Jam track. I'll play a few lines on top. And I'll leave you with some some final thoughts on this.

All right. So we heard what the mixolydian Flat 6 scale sounds like when we were jamming over just those two chords are major one in our minor for and just to balance things out. I want to show you what exactly what it'll sound. Like if we did the modal interchange thing instead where we went from the a major scale to the a minor scale and really what you'll hear. The difference here is you know, when that D minor chord comes up all of a sudden I'll be playing these three notes instead of These three notes. All right, so I'll just kind of walk you through as the chords come up. I want you to hear the difference between this mixolydian flat-six feel and this modal interchange feel of going from a major to a minor. They're pretty similar, but just to take a listen here. Alright, so we'll start off with mixolydian flat 6.

Now with the modal interchange so mixolydian Flat 6.

And now we'll try it with some of the modal mixture right? So I brought in that minor third.

It's a William flat-six now do the modal interchange so it's pretty subtle. But hopefully you get the idea there that when you are using modal interchange all of a sudden we start using more than just seven notes are mixolydian. Flat-six scale is just seven notes. But if I start bringing in notes of a minor that's gonna introduce other tones in there as well. All right, so I really really enjoy this the scale. I can't stress it enough just fine two chords on 1 and a 4 Chord a major one and a minor for Start strumming. I'm start finger picking them Arrangement. Anyway, you want and start playing these notes up and down underneath and start seeing what develops out of that. I think you'll be pleasantly surprised. I think it's a very easy scale to get awesome tones out of and I'm just surprised that doesn't get talked about as often as I think it should because I think it's a really nice outing thing.

We don't hear it that often in mainstream music. I can't think of a lot of pop songs where you're going to hear this but it's pretty common and you know jazz fusion progressive rock video game music you hear this kind of thing a lot so play around with it and see what you get. Once again, thank you for watching this and if you have any questions comments, please let me know below leave a comment or get a hold of me on Facebook or Twitter.

Thank you.

 





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