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SECTION ONE:
Understanding Mixolydian & Minor Pentatonic Color Tones...
INTERVALS PLAY A PRINCIPLE ROLE IN BLENDING SCALES:
The interesting blend of tones generated when we are able to layer Mixolydian with the Minor Pentatonic has a lot to do with the appearance of unique intervals. The combined use of these scales allows us to have at our disposal two different 3rd intervals. They are the; Major 3rd, as well as, the Minor 3rd. This blended 3rd interval sound is used extensively in many musical styles like; rock, blues, soul, funk, jazz, and even country & western music. However, since the application of these layered interval sounds with the Ma & Mi 3rd have their roots in blues, it is very important to realize that the swing, or shuffle feel, will play an important role along-side of their initial use. Application of the swing /shuffle feel will be especially helpful to new users in the early days of practicing the blending of these Major & Minor third colors. In the video, (as well as within this handout), I get things started with this combined scale use explanation by examining a few diagrams of how these two scales overlay their intervals on the guitar neck. This is very important since with scale practice, (and the rehearsal of all kinds of fret-board shapes), comes with it the study of intervals. The overlay of these two scales offers us two different scale types, (major & minor quality). This unique blending of tonalities can generate a good deal of unique colors and sounds. Once the use of each color generating interval is understood, (and they are able to be controlled melodically), improvising and song writing with the combined scales will become easier to do. The success well have, (and the speed of developing that success), when learning to implement those blended tonal sounds often comes down to how well we known & understand musical intervals. So, whether we want to use more minor & major 3rds, or perhaps we enjoy the sounds of a Major 6th, or maybe a minor 7th, once we know our intervals, we can control how our solos and our melodies interact far better. And, hopefully the knowledge of intervals will make the music that we create both occur faster & easier, and sound better as well.
SECTION TWO:
The Visual Overlay of the Scales upon the Guitar Neck...
The overlay of both Mixolydian Mode and the Minor Pentatonic generates a number of unique scale tones. Knowing and understanding the interval relationships of the combined notes is essential to developing the unique colors that are possible through the combined use of these notes. See the example below... Figure 1). A typical 5th position, A Minor, Pentatonic scale. Degrees: 1, b3, 4, 5, b7, 8.
Figure 3). The combined overlay of both scales in the 5th position.
SECTION THREE:
Application Studies of Blending the Minor Pentatonic & Mixolydian...
In the initial group of examples I place my focus upon demonstrating the blending that is possible with the combination of the Minor pentatonic scale shape, over-top of the Mixolydian mode. This blend is a very cool sound that can work for many different musical situations. In example #1), Ive put together a great way to start blending these ideas. It will involve simply starting with a Minor Pent. phrase and then ending into a Mixolydian phrase. Example #1). Practice the Minor Pentatonic to Mixolydian blending exercise given below.
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Example #2). Practice the blended scale melody idea given below.
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In example #3, Ive set up a longer phrase, that weaves back & forth between these scales with Full M lean-toward the Minor Pentatonic sound at the beginning of the phrase. a very strong
8 T appearance 5of8the 5 Mixolydian 7 5 5 The scale is only done so by way of minimal note selection, 7 6 A 7 primarily through the use of Mixolydians 5 unique Major Third tone. In this melodic example, the B phrasing is done over a situation of, B Dominant 7th Tonality. P P
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The Minor Pentatonic that I have applied, will be off of the root of the, B. This will give us a, B Minor Pentatonic Scale, for the creation of melody. One last thing that is important to A7 mention is how these lines are predominantly of the 16th-note rhythmic duration, and the c quick c V be V j example k V gV V will kV V Vto ktherefore W phrases it is important V fairly gV VSo, c V to remember 4 VkV W develop. V V I in this V V g g V V V V V V u how to play these VgV V V W to take your time in u learning u phrases accurately. NOTE: There is a backing track for the practice of this example that was included with the T 5 5 download of this PDF handout. After developing an awareness for this study on your guitar 4 6 6 7 7 6 A 4 5 7 7 7 5 5 7 4 (4) 7 neck, 7 5 (5) 3 4 7 B use the backing track to perfect the part.
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Example #3). Practice the R&B style Mixolydian /Minor Pentatonic blending melody below.
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D P = 120 (P P CP PR )
Backyard Boogie
by Andrew Wasson
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