Continuing on with the blues theme this episode introduces the mixolydian scale, an effective scale which can be played over a dominant chord. The theory behind the scale and its construction is explained before looking at a solo based on the scale.

1. An Introduction to Mixolydian Scales
Podcast #9 - Additional notes
© Copyright Darren Dutson Bromley 2012

2. Mixolydian scales.
The mixolydian scale is commonly used in many styles of music and is an effective scale
when played over a dominant chord.
Let's take Bb as an example. A Bb major scale consists of the notes
Bb C D Eb F G A Bb
Bbma7 consists of the notes Bb D F and A
These notes are contained within a Bb major scale and this would be an ideal scale for
improvising with over the Bbma7 chord.
Bb major
scale
Bb C D Eb F G A
Bbma7
Bb D F A
If the chord was Bb7 it would contain the notes Bb, D, F and Ab. Here the Bb major scale
wouldn't be the most ideal scale, whilst Bb, D and F would fit Ab would clash with the A
found in the scale.
Bb major
scale
Bb C D Eb F G A
Bb7
Bb D F Ab

3. The A (which is the seventh note) could be flattened to correspond with Ab in the chord
giving a scale which looks like this:
Bb C D Eb F G Ab Bb
This is called Bb Mixolydian. It can be thought of as a Bb major scale with a flattened
seventh note and is an ideal scale to play over a Bb7 chord.
Over a progression which uses a number of 7th chords such as a blues or middle sections
of tunes such as I Got Rhythm which use cyclic dominant progressions, it would be
necessary to change to the appropriate scale to correspond with the chord.
For example.
Over Bb7 we could use Bb Mixolydian, however we'd have to change to Eb Mixolydian
over the Eb7 chord. This can be thought of as an Eb major scale with a flattened 7th note
to correspond to the chord tone found in Eb7.
Eb7 chord
Eb G Bb Db
Eb major
scale
Eb F G Ab Bb C D
Eb
Mixolydian
scale
Eb F G Ab Bb C Db
Root 2nd 3rd 4th 5th 6th 7th

4. Here is a solo using these two scales which fits over this progression. Take any phrases
you like and incorporate them into your own playing. Try playing the scales in lots of keys
and try using them to solo over different progressions. It would also be useful to try
working out other Mixolydian scale shapes.

5. This week served as an introduction to the mixolydian scale. The next step is to
incorporate this scale into a blues sequence.
See you next time.