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You can even play a minor pentatonic over a major chord- loads of rock, pop and blues music does this.
The problem is doing it mindlessly and without specific intent.
Always think 'what am I trying to say and why am I doing this'?
To a specific point:
'Am I right in thinking that the preferred chord to solo over with G Mixolydian would be C?'
Sort of but not really.
If you are playing over a C chord then the position on the neck might be around the 3rd fret, starting on the G but really you are playing C Major (Ionian mode).
Try to think of 'positions on the guitar' and 'modes' as separate things.
You can play any of the modes in any position... once you have learned to play them.
Be directed by the chord progression.
For imstance:
Dm7, G7, C maj7 call all be played with D dorian, G Mixolydian, C Ionian... because they are the same notes.
Playing a ii V I is not best done like this though- targeting chord tones is much better, especially the 3rd and the 7th.
For example play melodies where these notes feature as landing points in your phrasing:
Dm7 : F C
G7: B F
C maj7: E B
It is a good idea to note how close these notes are to each other, such as a semitone difference between the minor 7th of the ii chord and the 3rd of the V chord. And the 7th of the V chord and the 3rd of the 3rd of the I chord.
Now observe the notes that are in common.
Dm7's 3rd is the b7 of the V chord.
The V chord's 3rd is the 7th of the Cmaj7.
This is all important.
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Yes, because G7 and G Mixolydian are derived from the C Major scale, they are related (share the same notes). G/G7 and G Mixolydian are the 5th chord/mode of the C Major Scale. But that’s not the only way to see G Mixolydian (or any mode for that matter).
Well that's a start thanks. So, D Lydian is preferred over a D chord,yes?
D Lydian can be played over a simple D chord. But then so could D Mixolydian or D Ionian. It depends on the context that the D chord is in and even then, that’s not always the whole story.
The confusion stems from how to view modes as there are a few different ways.
G Mixolydian is a G Major scale with a b7
This is known as the parallel approach.
For me, with all things keys & harmony, the first question to answer is: what is the root note?
The 2nd is: is the song major or minor?
the 3rd is: is it natural major or minor, or is it a weird modal major or minor?
———————
in your case, let’s say the song is “in G”.
Dancing Days (Led Zep)
I’m a believer
Evil ways (Santana)
Vaughan Williams Fantasia on theme of Tallis
Soldiers of Fortune (Whitesnake)
All the above are written “in G”. The home note, the “tonic” is G.
Dancing Days (Led Zep)
I’m a believer
Georgia
Minor tonality:
Evil ways (Santana)
Vaughan Williams Fantasia on theme of Tallis
Soldiers of Fortune (Whitesnake)
———————
Third question: is it natural major or minor, or is it modal? The answer to that is to examine the modal notes.
(NB - other minor scales are available)
——————
There’s another test you can do, looking at chords rather than notes:
If it’s a major tonality and has a major II chord it’s Lydian.
——————
Sooooo. With your question, I think you’re asking, which scale should I play over a song that’s in G mixolydian. The first, most important and simplest answer is the G mixolydian scale. As you saw above, this is like the G major scale, but with a lowered 7th. It’s GABCDEF(G). If you were playing G major it would be GABCDEF#(G). But that doesn’t contain the lowered 7th of mixolydian.
I think you’re also asking which is the major scale that contains the notes of the G mixolydian scale?
I don't particularly like modes a lot.
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
its a mnemonic
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
No idea who that is... sorry
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
One of the most commonly asked questions is “Which scales work over what chords?” I frequently answer this question by pointing out that it depends entirely on what you consider the “working” to mean?
What is a scale ‘working’ over a chord anyway?
Where this may appear not to answer the question at all and be a thoroughly unhelpful digression into the philosophical implications of perception, it’s actually worth thinking about because the whole idea that certain ‘prescribed’ scales work over certain chords, chord types, or chord sequences is actually rendering music and improvisation a sterile by-product of a prescribed approach, and a institutionalised ‘system’.
Using jazz as an example, there are some people who hate this style of music for whom the whole idea of a scale “working” over a chord or chord sequence (as a player improvises) is as far removed from a good idea as can be! Some may consider a scale ‘working’ over a chord progression to be dull, boring, and most probably the least inspirational music they may be exposed to. While rightfully entitled to their opinion, to what extent is this scale ‘working’ for them? It isn’t, so does the scale ‘work’ with the chord or chord sequence? It depends who is listening, and in the space between the extremes in musical taste (someone who hates jazz, and a jazz lover) the question of whether or not, and if so the extent to which a scale may ‘work’ over a chord, has many, many manifestations of answer, none right nor wrong, none more or less accurate than the previous or last, and the reason the question “Which scales work over what chords?” is ultimately vague, subjective, and with no real definitive answer.
Clearly it’s a good thing to learn which scales work over certain chords in a conventional sense. This starting point is invaluable for the serious and committed student of improvisation, but as I frequently say to my students, the scales, modes, and arpeggios which are most commonly ‘prescribed’ to work over certain chords and sequences don’t actually serve to help you to sound good. They serve to help you avoid sounding bad (which is not the same thing). Who wants to sound good anyway? Doesn’t the aspiring guitarist want to sound ‘great’? Don’t they want to play with their own voice, unrestricted by any technical or musical constraints that may stand in the way of them truly expressing what they really mean? The idea that someone wants to sound ‘good’ seems like one step too close to mediocrity when compared with the actual level that a player may aspire to!
Still want to know which scales work over which chords? You can find all that information on the internet.
Wouldn’t you rather know how to be a great guitarist? To find that out, the only way is to think about what scales ‘working’ over chords means to you, and then asking some better questions about it regarding how you really want to sound.
https://www.youtube.com/watch?v=tKOvlsTvjic&t=1210s
The modes bit starts at 20mins in
Trading feedback: http://www.thefretboard.co.uk/discussion/72424/
(1) You would play the C major scale for G mixolydian, but not necessarily a C major chord over G. Playing G, G7, Bdim, maybe F9 or Am/F chord tones over the G would sound good, depending on what you’re going for and what part of the progression you’re in. That G7 really likes to pull our western ears back to C, so if that’s not where you wanna go then that’s gotta get worked out.
(2) To me, what makes G mix special is the F. Or even the B and F together (the major 3rd with the flat 7). I like to find ways to highlight that note as part of a lead riff, solo note or something like that.