Mind Blown! This is the key that really ties everything together and it's so simple. If you want to really venture outside of the pentatonic boxes melodically this is it. Nice Job!
You won't find a better group for learning and value than working class guitar. Corey with his music ,teaching and playing ability along with Steve's expertise in creating a great platform to apply their knowledge is 2nd to none.
Dude I just learned something from what you taught that is not what you taught but it led me to something else that is changing my playing and understanding of music forever. Really going to dive into diminished triads. The whole fretboard is starting to open up because of triads now.
This is a really helpful. My attempts with mixolydian quickly slid back into basic blues. Love how the shift in thinking you shared really opens up that sound.
Totally great, these licks sound so very musical and tastefully bluesy at times, great connecting of those riffs! Excellent, it brings the kind of "stale" mixolydian scale to life!
Great stuff. I use a lot of triad pairings. For a G mixo sound I’ll play F and G triads all over the neck for example. What you just played there is 100% cool…..back to the shed….🤘
Excellent video using a modal appoach to find acceptable ways to insert scales over chords. I've been using the Myxolodian scale for sometime now but this expands on how I will approach my solos going forward. Thanks again.
This is a great lesson! This lesson goes very well with your lesson "Robben's Triad Trick Will Boost Your Blues Rhythm Chops!" Same idea with one lesson coming from a lead perspective and one lesson coming from a rhythm perspective.
this lesson was awesome. its the most successful use of triad pairs in blues I've ever seen. also the bad jerry Garcia mixolydian solo was spot on, lol.
i really enjoy this lesson, i have the theory behind it but having hard time making music especially with dominant scale, you manage to demonstrate it musically, thank yo so much!
Working class guitar is great Cory. Love the Clapton BluesBreakers course. Nice Deep Dive. Also the Blues Greats is a must have course-you covered Michael Bloomfield. I couldn't resist! Two guys that never really get mentioned are Jimmy McCarty-Cactus, and Robin Trower How about a East vs West battle of guitar licks course? Jimmy McCarty vs Jimmy Page Bloomfield vs Peter Green Shuggie Otis vs Mick Taylor Alvin Lee vs Robin Trower Oh here a good one Leslie West vs Richie Blackmore Etc etc You can match em up better than me with your expertise. Rock On! These ideas your playing remind me of Shuggie Otis!
It’s just using the harmony of the mixolydian mode over a dominant chord. Tl;dr - yes, any triad from that scale will work. Some will sound more ‘outside’ than others
Great lesson and advice! Thank you C ! I bet we can expand this "scale triad insert" approach to any favorite mode ? D dorian if following your C major example ?To play some dorian and minor penta moves over dorian wamp and than to insert some "triad gliding" ? Keep up the good work.
Great lesson Corey. I’m seeing this as the chord you’re on, G7 (same as C) in this case, is a temporary key in its own right so you can play the diatonic triads of that chord.
Interesting that you said bad Jerry Garcia impression, because when you started showing the new way to think about it, it kind of sounded like slipknot (the little instrumental in between help in the way and Franklin’s tower, not the band with masks) in a very good way.
Another great one Corey! - To any reader: Do check Corey's online courses. Following "intermediate Blues Guitar" and "Blues Guitar by Yourself", I progressed more in six monthes than in years before!
Great video! Would like to know if these mixo triads work when you go to the dominant 4 or 5 chord in the key of 1? Or would you want the play the mixo triads of each dominant chords? I.e., Play the mixo C triads over the G, and when you go the D7, would you play the Mixo A triads?
Happy New Year. As Always a great lesson. Gave me an idea that you can also mix it up with Stacked triads (super arpeggios) matching G7. So in this case you could start stacking on the C (maj, min, maj, dim, etc) or maybe off the G (maj, dim, min) would be better since that 2nd one gets you to the dominant (tritone) sound quicker.
@@coreycongiliooh yeah I wrote the above before I got to 5:36 in your video where you do the super arpeggio of stacked triads for G mixo (G, Bdim, Dmin). This makes playing so much more interesting for all and fun. Thanks!
GREAT LESSON!! You never use your pinky finger (like for instance Brian May), and your sounds is so smooth! The Mixolydian - it's just my theory - sounds much better without distortion maybe because the major 7th tends to give a fifth overtone which is very unpleasant in the context (a tritone). Maybe due to that most rock players choose pentatonic or Lydian mode. . .. Who knows.
Great lesson! Now, doesn’t that apply to any tonality? If you’re playing, say E Phrygian you can use all the C Triads just the same but you end it with a phrase or lick in E Phrygian?
Definitely an interesting problem. Thanks. But as someone working on Garcia ideas, I'm hearing blues and then jazz. I'm still not hearing something in between.
@coreycongilio Thanks. Not sure I agree as a philosophical matter, but it's definitely an interesting question. I think this connects with something I heard John Mayer say. IIRC the point was to think of playing something and then NOT play your original idea. Not something I can do 🙃I've often heard players say that amateurs, like me, play too much. Silence being a "note" and different styles emphasizing different approaches. I just realized that the jazz I thought I heard in your lesson - and I know it was a lesson - reminded me of a particular period in jazz. Armstrong's stop-time solo on Potato Head Blues may be its stylistic opposite. Learning Garcia's version of Going Down the Road Feeling Bad, I realized I was switching in an out of Ramblin Man, which has to be related to this puzzle. I've learned so much from your channel. Thanks for sharing all your hard work.
That is some nice guitar playing. I have to say though, that what you're talking about actually has little to with the MIxolydian mode. Thats just a specific mode that you've chosen to apply the concept to. (moving around triads stepwise through a scale) You could do the same thing with the other modes, and of course you're not limited to just triads. I guess you get more clicks if you say "here's something nobody tells you... or wants you to know or whatever" Anyway...... awesome playing and lesson.
If you harmonize G Mixo in 3rds it even 4 note arpeggios, you still get the same result. Please provide examples or even a video that we can reference you playing them. Thanks!
I'm confused because mixolydian is a major mode. I get that blues is playing a minor pentatonic scale over a major 7 chord. But mixolydian is not that. So why do you keep going to minor pentatonic?
I need to understand the theory better. So the G7 pentatonic scale is mixolydian because G is the 5th of C? And the idea is to mix in the triads up and down the key of C? (Dm, Em etc)? Intermediate player who currently jams on pentatonic scales and recently discovered adding a major 3rd and 6th😂
Hi mate, I think its more like the C Major scale, played from G to G is the Mixolydian mode of G. If you played the F major scale from G to G you would get the Dorian mode of G. That a minor sounding mode that is good for when you go to C9 ( the IV ) in a blues. For the D9 ( the V chord ) the G pentatonic blues sound fine. Or G major scale. I practice all these over the changes in one position at a time. I found that works best.
Technically the scale associated with the G7 chord is the mixolydian scale. Not the minor pentatonic. There's a major 3rd in G7 and not in the minor pentatonic. However . Alot of people use minor pentatonic over dominant 7 chords anyway, as they like the bluesy rub the minor 3rd against the major 3rd of the chord feels. Essentially that minor 3rd is technically a 'wrong note' but it's how you use it to make it work. Personally I don't let the minor 3rd linger and just use it as a passing tone
@@Dan-zq5wt And yeah Corey is essentially saying you use all the triads from c major cause G7 is indeed the fifth of C major so it all works together .
You started off very quickly. Basically, you are playing C major notes over a G7 chord which is a 5th of C major key, using all the triad positions of the chords in C major key to get a Mixolydian sound over a G7 dominant chord 😅 Brilliant!
Right. A major scale with a flat 7 over a chord that has a major 3rd and flat 7 makes no sense. Fuck, wasted eight minutes of my life watching this rather informative video.
@AarynMartin96 both Dominan7 and m7b5, I use Arpeggio with chromatic, would describe the chord better than Mixolydian. Except for a blues vamp I'd go for Lydian dominant scale pattern things
Get the Tabs and Track Free! Get the PDF and Track FREE Here:
workingclassguitar.com/courses/best-of-corey-s-youtube/lectures/59266305
Mind Blown! This is the key that really ties everything together and it's so simple. If you want to really venture outside of the pentatonic boxes melodically this is it. Nice Job!
You won't find a better group for learning and value than working class guitar. Corey with his music ,teaching and playing ability along with Steve's expertise in creating a great platform to apply their knowledge is 2nd to none.
Appreciate that! Thx for being a WCG member!
Like Lennon said, a working class hero is something to be
Dude I just learned something from what you taught that is not what you taught but it led me to something else that is changing my playing and understanding of music forever. Really going to dive into diminished triads. The whole fretboard is starting to open up because of triads now.
🤯 what a way to start the new year!
This is a really helpful. My attempts with mixolydian quickly slid back into basic blues. Love how the shift in thinking you shared
really opens up that sound.
Great lesson. Triads are so powerful- It breaks you free from staying within the scale/pattern and it opens up a new world of improvising.
Totally great, these licks sound so very musical and tastefully bluesy at times, great connecting of those riffs! Excellent, it brings the kind of "stale" mixolydian scale to life!
Great stuff. I use a lot of triad pairings. For a G mixo sound I’ll play F and G triads all over the neck for example. What you just played there is 100% cool…..back to the shed….🤘
You’re all over it!
Excellent video using a modal appoach to find acceptable ways to insert scales over chords. I've been using the Myxolodian scale for sometime now but this expands on how I will approach my solos going forward. Thanks again.
This is a great lesson! This lesson goes very well with your lesson "Robben's Triad Trick Will Boost Your Blues Rhythm Chops!" Same idea with one lesson coming from a lead perspective and one lesson coming from a rhythm perspective.
As always, great lesson. Thanks Corey for sharing this gold. Happy new year and God bless!
finally got some directions.
Really appricate it
OMG. I just had so much fun playing that little Dm to C to G triad figure over a simple G7 riff on my looper. Thanks Corey!
Great to hear!
Great lesson! Thank you
Great tips as always!
Thx bro! Hope you’re doing great!
@@coreycongilio I am doing so well. I'll hit you up asap for some catch up time! Keep killin' it man!
this lesson was awesome. its the most successful use of triad pairs in blues I've ever seen. also the bad jerry Garcia mixolydian solo was spot on, lol.
Brilliant lesson really got tho to me thanks
Great ideas. Thank you Corey
Fantastic lesson
Great lesson! Just what I needed. I honestly can say (I own several courses from you!!) you developed your own style in time. I love it.
Thank you for that and the support!!
"Sounding like a bad Jerry Garcia impression." LOL!! That hit home for me! Thanks for the lesson. I just enrolled in W.C.G.
Nice! Thx for signing up!
i really enjoy this lesson, i have the theory behind it but having hard time making music especially with dominant scale, you manage to demonstrate it musically, thank yo so much!
W0W! Soo Awesome. Thanx for sharing the magic note's! Ha!
HAPPY NEW YEAR to you.
Thanks! Right down the alley of what I need to work on!
Nice!
Working class guitar is great Cory. Love the Clapton BluesBreakers course. Nice Deep Dive. Also the Blues Greats is a must have course-you covered Michael Bloomfield. I couldn't resist!
Two guys that never really get mentioned are Jimmy McCarty-Cactus, and Robin Trower
How about a East vs West battle of guitar licks course?
Jimmy McCarty vs Jimmy Page
Bloomfield vs Peter Green
Shuggie Otis vs Mick Taylor
Alvin Lee vs Robin Trower
Oh here a good one
Leslie West vs Richie Blackmore
Etc etc
You can match em up better than me with your expertise.
Rock On!
These ideas your playing remind me of Shuggie Otis!
Great lesson. I love mixolydian over blues. You take it in so many directions
Gosh this is an amazing discovery. Thank you. Does that freedom to play any triad in the key only work over the dominant 7 chord?
It’s just using the harmony of the mixolydian mode over a dominant chord. Tl;dr - yes, any triad from that scale will work. Some will sound more ‘outside’ than others
This is something I’ve really struggled with! Not that I really use it often l, but I would like to understand how to apply it. Thank you!!
Great video Bro. Thank you
First time I've seen you, and you hit this subject right on the head. Great lesson! 👍
Hey thx! Glad you enjoyed!
sounds awesome!!! Many thanks Corey!!
Great practical approach, CHEERS !!
Thx Corey,really appreciate this lesson, this has really helped clarify something I’ve been confused about for ever.:)
Awesome lesson Corey!! Always appreciate your insight!
Always inspiring Corey👍
Very cool to suddenly see how to use these tools I had waiting in the wings!
Awesome!
Really great and useful, Corey, thank you! And all the best for 2025!
Great lesson and advice! Thank you C ! I bet we can expand this "scale triad insert" approach to any favorite mode ? D dorian if following your C major example ?To play some dorian and minor penta moves over dorian wamp and than to insert some "triad gliding" ? Keep up the good work.
Great lesson Corey. I’m seeing this as the chord you’re on, G7 (same as C) in this case, is a temporary key in its own right so you can play the diatonic triads of that chord.
Happy New Year to You and Yours. May Music always Shine from Your Soul...
Short and sweet packed with great info.
Enlightening! Thx
Interesting that you said bad Jerry Garcia impression, because when you started showing the new way to think about it, it kind of sounded like slipknot (the little instrumental in between help in the way and Franklin’s tower, not the band with masks) in a very good way.
I was working on mixolydian all morning so this is brilliant - happy 2025!!
Happy New Year!!!
You are the best!
Cool tips!
Great stuff Corey!! Thanks so much!!
Amazing! Thank you! 🙏🎸
Wow this was such an incredible lesson. What a fresh way to play modes. Thank you. I'll sign up now.
My pleasure! Thx for signing up!
Happy New Year. Thanks for all the inspiration…
great eye opening and ear opening lesson!! thanks!!
Eye opening.
Mixo magic. Thanks
Great stuff, really appreciate the insight, thank you.
Great lesson!
Thanks so much man! This opens up so many possibilities. A real light bulb moment
Brilliant Corey! Thank you!!!
So helpful! Great stuff
Cool, thanks
Awesome video… sounding fantastic
Thanks for this!
My pleasure!
awesome stuff brother
happy new year!
Another great one Corey! - To any reader: Do check Corey's online courses. Following "intermediate Blues Guitar" and "Blues Guitar by Yourself", I progressed more in six monthes than in years before!
Great to hear!!
Happy new year everyone . Lets start Mixolydian with Corey🍀
I just purchased the Intermediate rhythm course 🎸
And the "Blues licks by the Greats" course on sale last week
(55% off)
THANKS!
Wow thx!! I hope you enjoy
Great video! Would like to know if these mixo triads work when you go to the dominant 4 or 5 chord in the key of 1? Or would you want the play the mixo triads of each dominant chords?
I.e., Play the mixo C triads over the G, and when you go the D7, would you play the Mixo A triads?
So darn good! I know what I'm practicing today!
Great to hear RK!
Brilliant!
Cool stuff❤
Happy New Year. As Always a great lesson. Gave me an idea that you can also mix it up with Stacked triads (super arpeggios) matching G7. So in this case you could start stacking on the C (maj, min, maj, dim, etc) or maybe off the G (maj, dim, min) would be better since that 2nd one gets you to the dominant (tritone) sound quicker.
Yup! Do it from the G, then bdim, then Dm, F etc okay off the thirds of the previous triad. I’ve taught this before but, not with a dom7 chord
@@coreycongiliooh yeah I wrote the above before I got to 5:36 in your video where you do the super arpeggio of stacked triads for G mixo (G, Bdim, Dmin). This makes playing so much more interesting for all and fun. Thanks!
Very good lesson !
Does the chromatic approach of the first triad contribute to sound more jazzy ? 😊
Glad you enjoyed. I guess it depends on what one’s definition of jazzy is 🤷🏻♂️
Larry Carlton talked about triads in his Guitar Player interview in the 70s and on his Star Licks instruction videos from the 80s
Yes indeed. I even did a video on it! You've NEVER Used Triads THIS WAY!
th-cam.com/video/-Zt_8mkuj4U/w-d-xo.html
Chewy stuff 🤙🏽
GREAT LESSON!! You never use your pinky finger (like for instance Brian May), and your sounds is so smooth! The Mixolydian - it's just my theory - sounds much better without distortion maybe because the major 7th tends to give a fifth overtone which is very unpleasant in the context (a tritone). Maybe due to that most rock players choose pentatonic or Lydian mode. . .. Who knows.
Oh I use my pinky all the time! It’s 25% of my left hand fingers! 😂
@coreycongilio But not in your solos!😁
Pretty sure I do 😉
You're doing the Lord's work, ..... listen up kids ! (Sub'd & Upvoted)
Hey thx!
God, Jerry used the Mixolydian mode to death. Even when you use it your way - I still kind of hear Jerry.
Great ideas and great hair
Thanks, no one told me that ;)
Great lesson! Now, doesn’t that apply to any tonality? If you’re playing, say E Phrygian you can use all the C Triads just the same but you end it with a phrase or lick in E Phrygian?
Great
The link for the free pdf and backing track leads to the page where it is said, that the source is unlocked
How about a course on triads over Blues?
Hopefully someday soon!
Definitely an interesting problem. Thanks. But as someone working on Garcia ideas, I'm hearing blues and then jazz. I'm still not hearing something in between.
Maybe don’t think genre specific at all. Improvising is improvising regardless of the genre
@coreycongilio Thanks. Not sure I agree as a philosophical matter, but it's definitely an interesting question. I think this connects with something I heard John Mayer say. IIRC the point was to think of playing something and then NOT play your original idea. Not something I can do 🙃I've often heard players say that amateurs, like me, play too much. Silence being a "note" and different styles emphasizing different approaches. I just realized that the jazz I thought I heard in your lesson - and I know it was a lesson - reminded me of a particular period in jazz. Armstrong's stop-time solo on Potato Head Blues may be its stylistic opposite. Learning Garcia's version of Going Down the Road Feeling Bad, I realized I was switching in an out of Ramblin Man, which has to be related to this puzzle. I've learned so much from your channel. Thanks for sharing all your hard work.
That is some nice guitar playing. I have to say though, that what you're talking about actually has little to with the MIxolydian mode. Thats just a specific mode that you've chosen to apply the concept to. (moving around triads stepwise through a scale) You could do the same thing with the other modes, and of course you're not limited to just triads. I guess you get more clicks if you say "here's something nobody tells you... or wants you to know or whatever"
Anyway...... awesome playing and lesson.
Well then, how would you describe it? If all of the notes from those triads are in the mode, what’s the difference?
If you harmonize G Mixo in 3rds it even 4 note arpeggios, you still get the same result. Please provide examples or even a video that we can reference you playing them. Thanks!
@@coreycongilio What I'm saying is that you can do the same thing in the other modes as well.... its not MIxolydian specific.
Absolutely!
@@coreycongilio Nearly made some popcorn !!
I have the same Marvelous 3 shirt.
Nice!
I was gonna make fun of the title until I watched the video. Interesting ideas. Thank you.
I mean you still can. You won’t be the first! 😂
what if its not a vamp, what do you do then?
Depends on the chord changes but, you can apply the same ideas if you have enough measures to complete the thought
I'm confused because mixolydian is a major mode.
I get that blues is playing a minor pentatonic scale over a major 7 chord.
But mixolydian is not that.
So why do you keep going to minor pentatonic?
I need to understand the theory better. So the G7 pentatonic scale is mixolydian because G is the 5th of C? And the idea is to mix in the triads up and down the key of C? (Dm, Em etc)? Intermediate player who currently jams on pentatonic scales and recently discovered adding a major 3rd and 6th😂
Hi mate, I think its more like the C Major scale, played from G to G is the Mixolydian mode of G.
If you played the F major scale from G to G you would get the Dorian mode of G. That a minor sounding mode that is good for when you go to C9 ( the IV ) in a blues. For the D9 ( the V chord ) the G pentatonic blues sound fine. Or G major scale. I practice all these over the changes in one position at a time. I found that works best.
Technically the scale associated with the G7 chord is the mixolydian scale. Not the minor pentatonic. There's a major 3rd in G7 and not in the minor pentatonic. However . Alot of people use minor pentatonic over dominant 7 chords anyway, as they like the bluesy rub the minor 3rd against the major 3rd of the chord feels. Essentially that minor 3rd is technically a 'wrong note' but it's how you use it to make it work. Personally I don't let the minor 3rd linger and just use it as a passing tone
@ so in that case the major 3rd is B and the minor 3rd is Bflat?
@@Dan-zq5wt And yeah Corey is essentially saying you use all the triads from c major cause G7 is indeed the fifth of C major so it all works together .
Your "bad Jerry Garcia impression" was not bad.
I always think Allman Bros
You started off very quickly. Basically, you are playing C major notes over a G7 chord which is a 5th of C major key, using all the triad positions of the chords in C major key to get a Mixolydian sound over a G7 dominant chord 😅 Brilliant!
Gotta know where those half steps are
Just a half step away from the chord tones!
You're beginning to sound like Jerry Garcia in JGB
Myxolydian , Major Pentatonic , Minor Pentatonic , Flat 5 . That's 9 out of 12 . Go get em .
There ya go!
Brilliant! May YHWH bless you in Yeshua's name :)
I don't think Mixolydian works well with Dominan7 chord, both functional or non functional at all.
Right. A major scale with a flat 7 over a chord that has a major 3rd and flat 7 makes no sense. Fuck, wasted eight minutes of my life watching this rather informative video.
@AarynMartin96 both Dominan7 and m7b5, I use Arpeggio with chromatic, would describe the chord better than Mixolydian. Except for a blues vamp I'd go for Lydian dominant scale pattern things
Hey! A bad Jerry Garcia impression still sounds better than 99% of other rock players tbf 😂