One reason I like Ian's teaching style is that he makes you feel like you are learning with your best bud, through chatting, trying new stuff, making mistakes, laughing at them and not feeling bad about it. He explains these stuff from why to how, not just throw you a bunch a licks but to explain why you play that way and what is the principle behind it. It gives people who want to know stuff fundamentally a true feast ! Thank you Ian ! I learnt so much from your videos here !
ive been playing 40 years, and i knew this instinctively, but by explaining it in this way, you really broke open a dam of revelation ...im now subscribed!
I thought of those scales layering on top of each other to form the blues soloing (of course depending on the chord prog) but the way you said felt like other people were trying to protect a magic trick secret.
THANK YOU SOOOO MUCH!!!!! I just fell down a rabbit hole of "Stitch Method" guitar vids this past week, and I'm hooked. I've been playing guitar for several years, and have fallen into a rut with my "bag of tricks," (never really learning more than some memorized blues riffs over the 5 "pentatonic" boxes.") I can play dozens upon dozens of cover tunes, (including some exceptional lead work from musicians like Clapton, Knopfler, Hendrix, etc.) I even recorded a version of "The Devil Went Down to Georgia," and played all the lead fiddle parts on guitar. But although I learned these songs... what has alluded me for years is the ability to create as these musicians do.... "on the spot!" I could always write my own stuff as well, but could only play solos if I had time to work it out and carefully construct it. I really wanted to expand my understanding of music theory, but more importantly the ability to improvise and play lead guitar with more ease & understanding....and you've made that accessible. You're an excellent teacher... a real natural! And it goes beyond your knowledge of just the instrument. That's a real gift. Anyhow, sorry for the novella... I just wanted you to know it's very much appreciated from one musician to another. Peace brother.
Ian is seriously one of the most enjoyable and sensible guitar teachers on TH-cam when it comes to this kind of stuff. He makes it make sense to you in ways you don’t even realize.
I just realized that I have been using this scale for 20 years, and never knew it! Thanks for explaining what I was actually doing, because I sure as hell didn't know! It all makes sense now. Thanks! I appreciate it!
Dude, this was awesome. As someone learning how to play improv and jam, but can play decent guitar already, this just made me better at soloing already. You are the man thanks!! New sub
I can't tell you how awesome this video was. I whole bunch of things snapped in place when I started playing these scales over a mixolydian soundtrack. I haven't been able to put the guitar down. Thanks so much for this.
Found your video at the perfect moment. My pentatonic playing is starting to feel like chicken and brócoli 3 meals a day. This is the perfect lesson to start spicing things up. Great teacher, great video.
Another great lesson! Basing it on the pentatonic really makes it easier to understand. Thank you for the time you spend putting these lessons together. Wish I had a teacher like you when I started.......
Ahhh, suddenly the light went on - I have watched loads and loads of videos about modes and still did not have a clue. This video was nothing short of bloody fantastic for me!! Thanks!
I have been looking for you for ever because finally I have someone real who makes errors and leaves them in to show humility and to introduce this scale set with clarity inc 5ths 7ths flats etc it's all here..yes I've recorded it and need pencil and paper and eraser. Because I will write it wrong and erase it and redo it..rather then start again..much the way this gentleman has. So many many thanks..K Wolf
EN, just want to say that, your teaching matter is awesome, me as a blind individual totally get it the way you explain it in detail mattered, keep it up you’re doing an awesome job.
Your teaching style is great! Very patient and well structured with simple examples. Never trying to transform the lesson into a show off opportunity. Thank you
Yes!! This is the scale I need some perspective on. I am trying to get a feel for the stuff Mayer is doing with Dead & Co. and tying it to all the amazing stuff Jerry did. This is wonderful, thank you!
Great Lesson Ian. I love your long lessons. I feel cheated when they don't go 20+ minutes. Thanks for the cheat sheet. Always appreciated. Loving the strat.
Perfect tutorial! Following such tutorials like this one combined with listening to your favourite styles of music will give you yours without copying much the big ones!
You apologize for "long" 20 minute videos chock-full of priceless information while other guitar channels ramble on mindlessly for an hour and think nothing of it. You're a classy guy Ian.
Man !!.. really appreciated the mental/aural breakdown of using the 4 varied scales as different but sensitive responses in a conversation when getting an emotional point across..👍🏼💥
Thanks so much. If I had had this video after I learned the 5 positions of the minor pentatonic, I would have probably saved 10 or 15 years that it took to figure this stuff out and been a far better player than I am right now.
Wow thank you!! I literally spent the entire day watching videos on modes (specifically mixolydian.) Using minor pentatonic as a home base, and adding the missing notes makes it so much easier for my brain to grasp. Thank u!😊
Good approach, nicely explained. I'd just like to add that the 3rd note in the mixolydian mode (D# in B mixo) works nicely over the I chord, that is, B major. Outside of that, you need to be REALLY careful. Jimmy Page uses it quite a bit. Also, when you are playing the MAJOR pentatonic, you are using that D#, and that gives it a lot of that Major sound. Again, that scale works nicely over the I chord. Clapton uses this a lot playing with Cream. Listen to the beginning of the solos in Sunshine of Your Love and the first two measures of Crossroads.
Thank you for sharing this. It's been really helpful. When I play the blues scale I usually think of the blue note as an augmented fourth instead of a diminished fifth.
Great lesson. I’m always looking for new ways to approach soloing over progressions where you can mix major and minor. This gives me another way to approach it.
This is a fantastic video. The "layering" approach makes it possible to incorporate the various scale nuances in a gradual way that facilitates learning them. Bravo! Of course, my tin ear will need some practice, but. hey, it's a great start. Thanks.
That was a phenomenal video that shook out a lot of the confusion between these scales. Mastering this is going to be my concentration for the next couple of weeks, at least. Great job!
Hi Ian, greetings from Melbourne AU in Covid-19 lockdown As a 61yr old newbie, struggling to play melodic sounding lead over blues chords, I have to commend you highly on your teaching of how to understand and apply the scales and modes in this video. Easy to understand. Demystifies and enlightens. Bravo. You may not see this or have the time to respond. That's OK, I get that, and maybe some of the others have already picked it up and commented (as I haven’t scrolled through all the 328 other comments to date). The thing is, I think there’s an error in the description of the notes on the high E in Mixolydian Mode, and then when you played over the backing track in the Mixolydian mode (except when you bent up from the 10th on the high E). On the high E, the frets are 7, 9, 11 (same as the low E) for B, C# and D#, the Major 3rd, not 7, 9, 10 for B, C# and D, the Minor 3rd (Dorian). Am I making a newbie error here?
Man I absolutely love your videos. I feel like I should be paying you for the info. You’re an incredible teacher and have really changed my playing and taken things to a completely new level in terms of scale control and musicianship. Thanks for all of the hard work you put into these lessons, they’re amazing.
Subscribed. I need more 25 min vids if they are as jam packed with useful info as this. I already had 'head knowledge' of most of this stuff, but putting it together the way you have done has opened up some mental doors for me.
I noodled my way onto this scale just yesterday and finished building up possible chords and progressions off it today. Of course I couldn't find any info on it until AFTER I'd already spent all day on it, lmao. Thanks for the lesson!
This is a great explanation that I wish I had years ago. I have been playing this way for a while and didn't realize it had a name as I sort of stumbled onto it through trial and error, over time. Well done, sir.
btw an easy way to remember when to use each scale: mixolydian on the 1 dorian on the 4 ionian on the 5 ex. blues in A7 A mixolydian over A7 A dorian over D7 A ionian over E7 that's because each of those modes contains all the chord tones of the chord they go with mix it all up with spicy blues scale licks and there you go
Might be better to think of that as playing A mix for A7, D mix for D7, E mix for E7. This way you are associating specific chords with specific modes rather than having it relative to the root. It may not help with th blues specifically but is handy when you try and apply this to more complex material that might be in multiple keys
You're a great instructor. I'm a self taught guy...and this information, for me, is something I've been search for for quite some time. Thank you! Cheers!
Just came across your videos. Very well done. I like the "dont worry about this or that, you'll get the idea" aspect you incorporate. I know how to play, but not how to teach. Another reason im watching you, how you talk to begginer to advanced with the same tone. So yea, great job brother. 👏
Great video man! I have been using some of this stuff for a while trying to replicate some of the Dead/Jerry Garcia sounds, but never really knew why it worked. This puts a lot of stuff in context! Thank you!
So I do have a chart available here: $1.49. bit.ly/2xqOAwh This chart shows the 4 scales discussed, and how they come together for form the footprint of the MixoDorian Blues Scale. Noted are the special intervals within each scale, and how to practice hearing what each one has to offer. 1 Page of awesomeness. Immediate Download and Emailed right to you. Also: Here are some videos that discuss the some similar perspectives on my channel. Mixolydian Vs Dorian: th-cam.com/video/ksRYs0ZY1Yc/w-d-xo.html Blues Trick #1 which discusses the Major 3rd. th-cam.com/video/qZAxPNHF-vM/w-d-xo.html
Another great lesson! I have been throwing that major 3rd in on the I dominant chord and not realizing that it pulls from the Mixo scale. I never thought of it that way. Also want to mention that I really notice the upgrade in your video and sound quality on this one. Excellent production values! Thanks for all that you do!
Thanks a million for this extremely instructive and helpful video. What I particularly like about the scale in question is that its use allows some nice chromatic runs here and there. Great work! :)
Love the way you explain it. This is how I think about it too. If you say ok we’re going to learn 4 different scales it’s scary you don’t learn which notes to use in what situations. Thinking of it as just building off on the pentatonic and adding different notes as embellishments is a lot easier to learn and more practical when ur actually playing.
Dude I just subscribed! You helped me so much on the Dorian and Mixo. I know the Pentatonc with blues notes. I had just fun with that, but always wanted to know how to add the other two scales in. Thanks! Your a class teacher! Will be tuning in again to your lessons!
Good stuff! David Hamburger teaches this as the " swing scale". Same thing. Different approach. He doesn't include the 2nd interval as it may not fit his approach at transitioning from blues into jazz guitar which is his focus.
Just stellar man! I really reeaaally appreciate your inherent stick it to the man attitude thats never mentioned or even hinted at, just left to be inferred in todays age with youtube being hated on by modern online guitar courses. Love your work, love your message, love your existence.
If I may ... For me it's simpler to think of "Dorian blues" with Mixolydian variation You start out with 1-2-b3-4-5-6-b7 which is Dorian. Dorian is a minor scale, which means it includes the minor pentatonic 1-b3-4-5-b7 and puts in 2 and 6. Another way of thinking about Dorian, is that you're playing the notes of the A major scale, starting at B. Next we add the blue note: 4# (or b5). This is a transition note from the 4 to the 5 and adds that bluesy feeling. Finally, we vary upon the 3rd. When you turn the original flat 3rd into a regular 3rd, the Dorian scale turns into a Mixolydian scale. The minor blues feeling turns into a major blues feeling, as we now have the blue note within a scale that includes the major pentatonic 1-3-4-5-6. Another way of thinking about Mixolydian, is that you're playing the notes of the E major scale, starting at B. I would not call it "mixodorian" because that suggests we are playing the b3 and the 3 in sequence, but we never do that here, do we? Unlike the blue note, they are not transition notes, but they are comfortable landing notes, each in their own sequence of Dorian and Mixolydian respectively. (question to Stitch) The real question now is: WHY does such layering, or varying, sound so well? Why don't we similarly have dorian and lydian or mixolydian and locrian or ... And the answer, I believe (but it's really a question to Stitch), is that varying on the 3rd is a very common thing to do, switching from minor to major flavor and back, and you can keep the blues feeling in there. Another way of looking at it is that you are really moving into the major scales of E and A, keeping your B in the root. And B-E-A are 3 successive notes in the circle of 5ths, so they are closely related.
I think the bent 3rd Dnote to D# while playing the first three scale choices Pent/Dorian/Blues creates a Mixo scale naturally without having to think about 4 different scales so IF Im playing pentatonic I simply add the 2 color tones the 6 an 9 {F# and C#} which are shared with Mixo, tie in the bent 3rd with a flat 5 in passing and you have the combined effect and its cohesive with the harmony, to my ear the minor 3rd D in relation to the BDOM7 chord is "out"because of the clash with the Maj 3rd, unless your quick with it in passing, I know the minor pent is used alot, but be very careful how you handle that minor 3rd duration, frequency, landing etc?
Great lesson! Next step is adding half-whole diminished as an "outside" sound and enclosures to get the 7, b6, and b2 involved as chromatic approaches.
Put simply, enclosures are when you use chromatic notes above and below a target note (a note you intend to play) to create a cool chromatic melody that 'leads in' to that target note. This type of technique is common in bebop and chicken pickin country. If you want to play an Eb note over a Cmin7 chord, you could lead into it with a melody like F - E - D - Eb... Or with F - D - Eb. Or with E - D - Eb. Or with D - F - E - Eb. You probably get the idea, there's a lot of ways to use chromatic notes above and below a note to lead into it and create a cool chromatic melody out of it. This is an effective way to add chromaticism to your playing and to highlight specific notes. You can even build longer lines out of it by stringing together one enclosure after another, each one around a different chord tone. Ex: if you want to highlight the G then the Eb in a Cmin7 chord, you could play an enclosure around G then Eb like this - Ab - F - F# - G - F - E - D - Eb Hope this gives you some ideas
Cool video and awesome perspective. Even slightly different perspectives can be quite helpful. It sounds like combining the blues scale and major pentatonic scales. BB King, Chuck Berry, T Bone Walker, and many others did that. That's how I learned. I personally would rather hear the notes described by their interval than the fret number. I had to listen carefully. I really like the video. It's helpful.
One reason I like Ian's teaching style is that he makes you feel like you are learning with your best bud, through chatting, trying new stuff, making mistakes, laughing at them and not feeling bad about it. He explains these stuff from why to how, not just throw you a bunch a licks but to explain why you play that way and what is the principle behind it. It gives people who want to know stuff fundamentally a true feast ! Thank you Ian ! I learnt so much from your videos here !
Couldn’t agree more! 👍🏽✌🏽
That's pretty funny.
his name is Ian!!!!!!! never knew
ive been playing 40 years, and i knew this instinctively, but by explaining it in this way, you really broke open a dam of revelation ...im now subscribed!
minor penta + blue note(b5)+ dorian(2 6) + mixo (3)
14:55 17:00 all jam
Yes...at 5:30 Pentatonic with a Flat V...then I can hear the Dorian mode right after that....NICE SOUND - so very Carlos Santana Major 3rd Style! 🎵🎶
You explained it in simpler terms and better than any other person. Thank you sir
I thought of those scales layering on top of each other to form the blues soloing (of course depending on the chord prog) but the way you said felt like other people were trying to protect a magic trick secret.
Dude - you don't need to apologize for the video length. Your stuff is solid gold - I could listen to it for hours.
THANK YOU SOOOO MUCH!!!!! I just fell down a rabbit hole of "Stitch Method" guitar vids this past week, and I'm hooked. I've been playing guitar for several years, and have fallen into a rut with my "bag of tricks," (never really learning more than some memorized blues riffs over the 5 "pentatonic" boxes.") I can play dozens upon dozens of cover tunes, (including some exceptional lead work from musicians like Clapton, Knopfler, Hendrix, etc.) I even recorded a version of "The Devil Went Down to Georgia," and played all the lead fiddle parts on guitar. But although I learned these songs... what has alluded me for years is the ability to create as these musicians do.... "on the spot!" I could always write my own stuff as well, but could only play solos if I had time to work it out and carefully construct it. I really wanted to expand my understanding of music theory, but more importantly the ability to improvise and play lead guitar with more ease & understanding....and you've made that accessible. You're an excellent teacher... a real natural! And it goes beyond your knowledge of just the instrument. That's a real gift. Anyhow, sorry for the novella... I just wanted you to know it's very much appreciated from one musician to another. Peace brother.
Amen!
Great comment.
Ian is seriously one of the most enjoyable and sensible guitar teachers on TH-cam when it comes to this kind of stuff. He makes it make sense to you in ways you don’t even realize.
I just realized that I have been using this scale for 20 years, and never knew it! Thanks for explaining what I was actually doing, because I sure as hell didn't know! It all makes sense now. Thanks! I appreciate it!
Love it. This guy is the best online tutor I have found in years of looking!
takes 2 days to understand but finally I am able to visualize the missing notes comparing to pentatonic which is a great win for me... many thanks
You also can mix major and miner pentatonics..
You can throw in a suspended pentatonic to keep it intresting.
Omg cmon, this one is even more incredible then the last video! My man Ian !
Dude, this was awesome. As someone learning how to play improv and jam, but can play decent guitar already, this just made me better at soloing already. You are the man thanks!! New sub
The way to teach. With understanding and immediate application. Very nice.
I can't tell you how awesome this video was. I whole bunch of things snapped in place when I started playing these scales over a mixolydian soundtrack. I haven't been able to put the guitar down. Thanks so much for this.
So glad it’s inspiring you
Found your video at the perfect moment. My pentatonic playing is starting to feel like chicken and brócoli 3 meals a day. This is the perfect lesson to start spicing things up. Great teacher, great video.
Another great lesson! Basing it on the pentatonic really makes it easier to understand. Thank you for the time you spend putting these lessons together. Wish I had a teacher like you when I started.......
....how many times have I said that to myself?
Ahhh, suddenly the light went on - I have watched loads and loads of videos about modes and still did not have a clue. This video was nothing short of bloody fantastic for me!! Thanks!
Nice lesson. As a jazz student we change scales per chord from minor. Dominant and major. Along with Phrygian minor. Like. Autumn Leaves. Great Ian
I have been looking for you for ever because finally I have someone real who makes errors and leaves them in to show humility and to introduce this scale set with clarity inc 5ths 7ths flats etc it's all here..yes I've recorded it and need pencil and paper and eraser. Because I will write it wrong and erase it and redo it..rather then start again..much the way this gentleman has. So many many thanks..K Wolf
Very cool lesson.Its mind blowing that you can mix the dorian in with the mixolidian. Thanks for teaching that.
There is no Stich lesson that I haven't taken something away from. This one especially so. Great work Ian. 👏
EN, just want to say that, your teaching matter is awesome, me as a blind individual totally get it the way you explain it in detail mattered, keep it up you’re doing an awesome job.
Amazing to hear and thank you!
"Look at the footprint of this monster scale ! there is no way to man handle it" LOL !!! You are a genius sir !! Thanks so much for the knowledge.
Second video, and as the "stop noodling one", one of the most interesting video I ever saw about guitar in years !
Wow. A lot just clicked. Soloing over Althea was the first thing that clicked when I started combining the scales. Thanks a lot Stich!
Your teaching style is great! Very patient and well structured with simple examples. Never trying to transform the lesson into a show off opportunity. Thank you
Dude im so glad I found this channel. You are an awesome teacher
Yes!! This is the scale I need some perspective on. I am trying to get a feel for the stuff Mayer is doing with Dead & Co. and tying it to all the amazing stuff Jerry did. This is wonderful, thank you!
One of the best tutorials I've ever seen
Great Lesson Ian. I love your long lessons. I feel cheated when they don't go 20+ minutes. Thanks for the cheat sheet. Always appreciated. Loving the strat.
Videos like this are the reason you're my favorite guitar teacher ever!
Songs like Sand and Down With Disease really come to mind when hearing this lesson.
Love your videos stitch! Amazingly informative.
Perfect tutorial! Following such tutorials like this one combined with listening to your favourite styles of music will give you yours without copying much the big ones!
Excellent. Finally understanding how to use the blue note, among other modes in this lesson. Thank you so much. Awesome
You apologize for "long" 20 minute videos chock-full of priceless information while other guitar channels ramble on mindlessly for an hour and think nothing of it. You're a classy guy Ian.
Man !!.. really appreciated the mental/aural breakdown of using the 4 varied scales as different but sensitive responses in a conversation when getting an emotional point across..👍🏼💥
Yet another fantastic lesson… Thank you Stitch, you Rock!
Thanks so much. If I had had this video after I learned the 5 positions of the minor pentatonic, I would have probably saved 10 or 15 years that it took to figure this stuff out and been a far better player than I am right now.
Wow thank you!! I literally spent the entire day watching videos on modes (specifically mixolydian.) Using minor pentatonic as a home base, and adding the missing notes makes it so much easier for my brain to grasp. Thank u!😊
Good approach, nicely explained. I'd just like to add that the 3rd note in the mixolydian mode (D# in B mixo) works nicely over the I chord, that is, B major. Outside of that, you need to be REALLY careful. Jimmy Page uses it quite a bit. Also, when you are playing the MAJOR pentatonic, you are using that D#, and that gives it a lot of that Major sound. Again, that scale works nicely over the I chord. Clapton uses this a lot playing with Cream. Listen to the beginning of the solos in Sunshine of Your Love and the first two measures of Crossroads.
Thank you for sharing this. It's been really helpful. When I play the blues scale I usually think of the blue note as an augmented fourth instead of a diminished fifth.
With a million online teachers out there, occasionally you come across someone that you just get. I have just found that with you, thank you so much 👍
Great lesson. I’m always looking for new ways to approach soloing over progressions where you can mix major and minor. This gives me another way to approach it.
This is a fantastic video. The "layering" approach makes it possible to incorporate the various scale nuances in a gradual way that facilitates learning them. Bravo! Of course, my tin ear will need some practice, but. hey, it's a great start. Thanks.
This is only my second StichMethod video and I'm liking your style.
I bet your hooked now.
That is some sweet stuff, thank you for taking that apart and putting it back together the way you did.
This is THE LESSON of all lessons!!!
Really awesome. Thanks, Stich!
Rick Spiers wow! So glad you like it!
Great lesson! Great guitar! It's just amazing how you simplify these modes! Thanks, Ian!
Crazy how I stumbled on this video considering I constantly use a Dorian Blues scale. Throwing in some mixolydian can do me some good! 🤘🏽🤘🏽🤘🏽
Thanks so much for an excellent video. So much food for thought. Thanks again.
That was a phenomenal video that shook out a lot of the confusion between these scales. Mastering this is going to be my concentration for the next couple of weeks, at least. Great job!
Hi Ian, greetings from Melbourne AU in Covid-19 lockdown
As a 61yr old newbie, struggling to play melodic sounding lead over blues chords, I have to commend you highly on your teaching of how to understand and apply the scales and modes in this video. Easy to understand. Demystifies and enlightens. Bravo.
You may not see this or have the time to respond. That's OK, I get that, and maybe some of the others have already picked it up and commented (as I haven’t scrolled through all the 328 other comments to date). The thing is, I think there’s an error in the description of the notes on the high E in Mixolydian Mode, and then when you played over the backing track in the Mixolydian mode (except when you bent up from the 10th on the high E). On the high E, the frets are 7, 9, 11 (same as the low E) for B, C# and D#, the Major 3rd, not 7, 9, 10 for B, C# and D, the Minor 3rd (Dorian). Am I making a newbie error here?
Yeah I totally played the 10 but should have played the 11. Good catch and thanks so much for the kind words
Other scales really gives a flavor! Very informative video.
Man I absolutely love your videos. I feel like I should be paying you for the info. You’re an incredible teacher and have really changed my playing and taken things to a completely new level in terms of scale control and musicianship. Thanks for all of the hard work you put into these lessons, they’re amazing.
Subscribed. I need more 25 min vids if they are as jam packed with useful info as this. I already had 'head knowledge' of most of this stuff, but putting it together the way you have done has opened up some mental doors for me.
I noodled my way onto this scale just yesterday and finished building up possible chords and progressions off it today. Of course I couldn't find any info on it until AFTER I'd already spent all day on it, lmao. Thanks for the lesson!
This is a great explanation that I wish I had years ago. I have been playing this way for a while and didn't realize it had a name as I sort of stumbled onto it through trial and error, over time. Well done, sir.
This was magnificent 👏👏👏 best tutorial on the planet
Very cool video my friend. You have a great way of teaching and you are very appreciated.
btw an easy way to remember when to use each scale:
mixolydian on the 1
dorian on the 4
ionian on the 5
ex. blues in A7
A mixolydian over A7
A dorian over D7
A ionian over E7
that's because each of those modes contains all the chord tones of the chord they go with
mix it all up with spicy blues scale licks and there you go
Might be better to think of that as playing A mix for A7, D mix for D7, E mix for E7. This way you are associating specific chords with specific modes rather than having it relative to the root. It may not help with th blues specifically but is handy when you try and apply this to more complex material that might be in multiple keys
Great lesson mate! This is my lockdown weekend sorted :-) to hear the scales compared next to each other has really helped me! Have a good day.
Great video! I didn't know it was that simple to add the MixoDorian to a pentatonic blues scale. Makes it a lot more fun to improvise. Subscribed!
That was the hybrid scale in you blues prime videos using the 4 scales I think I have it down layering the hybrid scale.
I cannot wait to try this. Thanks.
You're a great instructor. I'm a self taught guy...and this information, for me, is something I've been search for for quite some time. Thank you! Cheers!
Very nice ideas and I like the way you express the need to work with them rather than pasting them mindlessly over a chord sequence.
Just came across your videos. Very well done. I like the "dont worry about this or that, you'll get the idea" aspect you incorporate. I know how to play, but not how to teach. Another reason im watching you, how you talk to begginer to advanced with the same tone. So yea, great job brother. 👏
Thanks man . Very structured lesson . Breaking it down into 4 scales makes it much easier to understand or at least to remember the 4 shapes .
Great video man! I have been using some of this stuff for a while trying to replicate some of the Dead/Jerry Garcia sounds, but never really knew why it worked. This puts a lot of stuff in context! Thank you!
Great stuff Ian! Thanks for sharing with all of us!
So I do have a chart available here: $1.49. bit.ly/2xqOAwh This chart shows the 4 scales discussed, and how they come together for form the footprint of the MixoDorian Blues Scale. Noted are the special intervals within each scale, and how to practice hearing what each one has to offer. 1 Page of awesomeness. Immediate Download and Emailed right to you. Also: Here are some videos that discuss the some similar perspectives on my channel.
Mixolydian Vs Dorian: th-cam.com/video/ksRYs0ZY1Yc/w-d-xo.html
Blues Trick #1 which discusses the Major 3rd. th-cam.com/video/qZAxPNHF-vM/w-d-xo.html
Awesome advice for working through the layers! Thanks, Ian!
Another great lesson! I have been throwing that major 3rd in on the I dominant chord and not realizing that it pulls from the Mixo scale. I never thought of it that way. Also want to mention that I really notice the upgrade in your video and sound quality on this one. Excellent production values! Thanks for all that you do!
I guess am just going to say it again and again, Ian, you rock! You really help us a lot! You are the best!
Thanks a million for this extremely instructive and helpful video. What I particularly like about the scale in question is that its use allows some nice chromatic runs here and there. Great work! :)
I love the artwork on the wall!!!
Love the way you explain it. This is how I think about it too. If you say ok we’re going to learn 4 different scales it’s scary you don’t learn which notes to use in what situations. Thinking of it as just building off on the pentatonic and adding different notes as embellishments is a lot easier to learn and more practical when ur actually playing.
Wow! This is new to me. Thanks for this very detailed lesson!
Your lessons are very comprehensive.
Iommi made a living, a catalog and genre off the flat five.
Dude I just subscribed! You helped me so much on the Dorian and Mixo. I know the Pentatonc with blues notes. I had just fun with that, but always wanted to know how to add the other two scales in. Thanks! Your a class teacher! Will be tuning in again to your lessons!
Wow! Thank you sir ,i can't wait to grab my guitar.this is new lesson for me.
More power sir!
Good stuff! David Hamburger teaches this as the " swing scale". Same thing. Different approach. He doesn't include the 2nd interval as it may not fit his approach at transitioning from blues into jazz guitar which is his focus.
One of the better videos! Makes sense!🎉❤
Just stellar man! I really reeaaally appreciate your inherent stick it to the man attitude thats never mentioned or even hinted at, just left to be inferred in todays age with youtube being hated on by modern online guitar courses. Love your work, love your message, love your existence.
Super clear and useful lesson!
Really clear explanation and layered build up! A hands on music theory lesson that makes sense. Great video!
Thank you for giving the notes and numbers (root, 3rd, flat 5th), as well as the positions so we can use music theory.
If I may ...
For me it's simpler to think of "Dorian blues" with Mixolydian variation
You start out with 1-2-b3-4-5-6-b7 which is Dorian. Dorian is a minor scale, which means it includes the minor pentatonic 1-b3-4-5-b7 and puts in 2 and 6. Another way of thinking about Dorian, is that you're playing the notes of the A major scale, starting at B.
Next we add the blue note: 4# (or b5). This is a transition note from the 4 to the 5 and adds that bluesy feeling.
Finally, we vary upon the 3rd. When you turn the original flat 3rd into a regular 3rd, the Dorian scale turns into a Mixolydian scale. The minor blues feeling turns into a major blues feeling, as we now have the blue note within a scale that includes the major pentatonic 1-3-4-5-6. Another way of thinking about Mixolydian, is that you're playing the notes of the E major scale, starting at B.
I would not call it "mixodorian" because that suggests we are playing the b3 and the 3 in sequence, but we never do that here, do we? Unlike the blue note, they are not transition notes, but they are comfortable landing notes, each in their own sequence of Dorian and Mixolydian respectively. (question to Stitch)
The real question now is: WHY does such layering, or varying, sound so well? Why don't we similarly have dorian and lydian or mixolydian and locrian or ... And the answer, I believe (but it's really a question to Stitch), is that varying on the 3rd is a very common thing to do, switching from minor to major flavor and back, and you can keep the blues feeling in there. Another way of looking at it is that you are really moving into the major scales of E and A, keeping your B in the root. And B-E-A are 3 successive notes in the circle of 5ths, so they are closely related.
You are the BEST!!!! This is GOLD!!!
Thanks man that's so good I've been studying the theory of modes and pentatonics for a year but that convays so much you are a great teacher.
I think the bent 3rd Dnote to D# while playing the first three scale choices Pent/Dorian/Blues creates a Mixo scale naturally without having to think about 4 different scales so IF Im playing pentatonic I simply add the 2 color tones the 6 an 9 {F# and C#} which are shared with Mixo, tie in the bent 3rd with a flat 5 in passing and you have the combined effect and its cohesive with the harmony, to my ear the minor 3rd D in relation to the BDOM7 chord is "out"because of the clash with the Maj 3rd, unless your quick with it in passing, I know the minor pent is used alot, but be very careful how you handle that minor 3rd duration, frequency, landing etc?
Great lesson! Next step is adding half-whole diminished as an "outside" sound and enclosures to get the 7, b6, and b2 involved as chromatic approaches.
Jake Stewart Music Hello. What do you mean by enclosures?
Put simply, enclosures are when you use chromatic notes above and below a target note (a note you intend to play) to create a cool chromatic melody that 'leads in' to that target note. This type of technique is common in bebop and chicken pickin country.
If you want to play an Eb note over a Cmin7 chord, you could lead into it with a melody like F - E - D - Eb... Or with F - D - Eb. Or with E - D - Eb. Or with D - F - E - Eb. You probably get the idea, there's a lot of ways to use chromatic notes above and below a note to lead into it and create a cool chromatic melody out of it.
This is an effective way to add chromaticism to your playing and to highlight specific notes. You can even build longer lines out of it by stringing together one enclosure after another, each one around a different chord tone.
Ex: if you want to highlight the G then the Eb in a Cmin7 chord, you could play an enclosure around G then Eb like this -
Ab - F - F# - G - F - E - D - Eb
Hope this gives you some ideas
Jake Stewart Music thanks, I do that all the time! I have night heard it referred to as enclosures before.
Thanks again!
Cool video and awesome perspective. Even slightly different perspectives can be quite helpful.
It sounds like combining the blues scale and major pentatonic scales. BB King, Chuck Berry, T Bone Walker, and many others did that. That's how I learned.
I personally would rather hear the notes described by their interval than the fret number. I had to listen carefully.
I really like the video. It's helpful.
The full scale at 14:05...
I hear "One More Saturday Night" and "Living On Blues Power."
Excellent thanks!! Have a great weekend!!
I love this lession... perfect.. you just opened up my articulation alot.. thanks J
Great video. Thanks for breaking it down
this is a tremendous lesson-helped me SO MUCH-thanks as always IAN!!