#1
I understand that Dom 7th's work good over the mixolydian mode, so I've just been looping an A7 chord on my loop pedal, and playing the mixolydian mode over that. It sounds pretty good, but it gets kinda boring after a while, since it's only one chord, lol. What are some good progressions for mixolydian? Thanks!
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#2
Play triads diatonic to A Mixolydian, keeping A as the bass note. Haven't got much time now to explain further.

For starters you can just alternate between A and G. I've chosen just an A triad rather A7 as it will sound more resolved than A7.

Another example would be A - G/A - A

-5---5
-5-3-5
-6-4-6
-7-5-7
-7---7
-5-5-5
Last edited by mdc at Oct 7, 2011,
#3
Let's just day this... G mixolydian is C Ionian.
Play the chords that's in thekey of C major.
SHouldn't be too hard to come up with something nice...
#4
But I'm not really sure when I should use Dom 7ths and stuff like that.
1950s Reissue Fender Stratocaster
Epiphone Gold Top Les Paul
Fender Hot Rod Deville
Electro-Harmonix Metal Muff
Electro-Harmonix Big Muff
Ibanez TS-9
Boss BF-3
Boss DD-6
Wylde Signature Cry Baby
DigiTech Whammy 4
#5
Quote by RoboRobot
I understand that Dom 7th's work good over the mixolydian mode, so I've just been looping an A7 chord on my loop pedal, and playing the mixolydian mode over that.

And you people chastise me for suggesting that the modal approach to learning general music theory is god awful.

...modes and scales are still useless.


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#6
And here I thought that the modal approach was widely hated in these parts.
#7
Quote by Vlasco
And here I thought that the modal approach was widely hated in these parts.

Don't tell Sean that.

...modes and scales are still useless.


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Hey guys could you spare a minute to Vote for my band. Go to the site Search our band Listana with CTRL+F for quick and vote Thank you .
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#8
an actual modal approach involves finding all the triads diatonic to the mode that are either built off of the root, or contain the charecteristic note (b7 for mixolydian) and are not a diminished triad--giving you the chords G, D minor and F major. The more applicable (non-modal) approach is to use the 7 pitches in the G mixolydian mode over a G7 chord, in order to give yourself a way to conceptualize "right notes" when improvising over chord changes.
all the best.
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#9
B major -> A major, A major -> B major over a strong B bassline that incorporates an A to resolve back to B.
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#10
There aren't that many situations where you can have an actual modal song TS.

However you can use an accidental 7th in the major scale in any song in a major key.
And no, Guitar Hero will not help. Even on expert. Really.
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#11
Quote by RoboRobot
I understand that Dom 7th's work good over the mixolydian mode, so I've just been looping an A7 chord on my loop pedal, and playing the mixolydian mode over that. It sounds pretty good, but it gets kinda boring after a while, since it's only one chord, lol. What are some good progressions for mixolydian? Thanks!

You clearly love the blues dudelet! I recommend listening to some Robben Ford. He has a knack of combining typical blues vocabulary with a more sophisticated approach...such as applying the mixolydian scales over each chord in a standard 12 bar.

This takes some work in getting it sounding smooth and effortless but it's worth the time and effort if you want to take your blues playing up a level.

Check out the album Talk To Your Daughter.
Last edited by mdc at Oct 7, 2011,
#12
Learn about tonality, learn how to use accidentals when encountering chromatic harmony = No need to 'learn' modes.