Mixolydian Connections

Mixolydian Connections / Position One Puzzle Pieces.

In Mixolydian Connections, you are going to learn an entirely different approach to making music with the mixolydian scale. The problem with learning scales has always been knowing what to do with them once you’ve learned your box position patterns.

In Mixolydian Connections, we are going to break the scale down into small 2 or 3 note combinations. Throughout the course I call these note combinations “puzzle pieces.” I’ve identified 6 of these puzzle pieces within the scale, some very tried and true sounds, they are:

• The 5th-6th-root combo
• The major 3rd
• The major 3rd-root-b7 combo
• The 2nd-root combo
• The 5th-6th-b7 combo
• The 4th-major 3rd combo

In this first lesson we are going to work on learning where all these puzzle pieces live within the larger box pattern for G mixolydian, position 1. It’s very important to learn not only where they are but also where they are in relative position to the root. This is crucial as you start to move into other keys. It’s equally important to get the sounds of these note combinations in your ear.

We are then going to start combining these pieces like pieces of a puzzle, hence the name Mixolydian Connections. An example would be connecting the 5th-6th-root combo with the major 3rd, etc. So no more having to memorize licks. You are going to be able to start making very musical sounding phrases immediately, even if this scale is new to you.

This method has helped my private students immensely, and vastly cut down on the time it takes to go from learning a pattern to playing tasty, melodic solos in the mixolydian mode, and it will work for you too!

So now that you get the “puzzle pieces” concept we are going to start finding all these sounds up the neck. Here we are looking at position 2 of G mixolydian. Be sure to always reference the position of the nearest root (G) as you learn these shapes up the neck. This is crucial when you start to work in other keys.

Here we mapping out our puzzle pieces in G mixolydian position 3. Position 3 contains what players commonly refer to as the “B.B Box”, without a doubt some of the most important real estate on the fingerboard to master!

Position four of G Mixolydian centers around the 10th fret on the A string. Focus on key puzzle pieces like the 5th, 6th, root, and major 3rd (9th fret D string and 12th fret B string), the b7 (13th fret low E string and up on the G string), and the 2nd and root combinations (A and B strings). Practice combining these elements and remember to relate everything back to the G root. Experiment with bending the 6th into the b7 or sliding it. Ensure you understand the 4th to the 3rd puzzle piece in both its positions to integrate it seamlessly.

In position five, the root is at the 15th fret on the low E string. Key puzzle pieces include the 5th, 6th, and root (starting at the 12th fret on G string, and also on the B and high E strings), the major 3rd (14th fret A string and 12th fret B string), and the 3rd, root, b7 (A & low E string, B, G, and D strings). Map out the 2nd to root on the A and G strings, and the 5th, 6th, and b7 on the D and B strings. Finally, integrate the 4th to 3rd on the A and B strings. Methodically practice each position, slow and meticulous, to build a solid foundation before adding more complex elements like bluesy bends.

To add a bluesy feel, integrate the b3rd and b5 (blue note) across all five positions of G Mixolydian. In position one, the b3rd is at the 6th fret on the low E string, 3rd fret G string, and 6th fret high E string, while the b5 is at the 4th fret on the A string and 6th fret on the G string. Move up through positions, noting the b3rd and b5 locations: position two (8th fret D string, 6th fret low and high E string), position three (11th fret B string, 8th fret D string), position four (13th fret A string, 11th fret on the B string), and position five (13th fret A string, 15th fret G string, b5, 14th fret B string). Combining these with puzzle pieces results in a more authentic blues sound.