Mixolydian Mode in Blues and Dominant Seventh Chords: A Path to Solo Innovation
Understanding how to use the Mixolydian mode in improvisation, particularly when working with the blues and dominant seventh chords, is a fundamental skill for any jazz or improvisational musician. The Mixolydian mode, rooted in the fifth degree of the major scale, forms a dominant seventh chord, making it a rich source of creative possibilities.
The Basics of Mixolydian Mode
The Mixolydian mode is built on the fifth degree of the major scale. For example, if we start with the C major scale (CDEFGABC), the Mixolydian mode of this scale would be G (GABCDEF).
From the G Mixolydian mode, you have a G7 chord (GBDF) which is a dominant seventh chord. This well-known chord forms the basis of the 12-bar blues, a cornerstone of jazz and blues improvisation. Practicing the Mixolydian mode can greatly enhance your ability to improvise, as it allows you to produce compelling moods and melodies without needing to rely solely on your instrument.
Using Mixolydian Mode in Improvisation
The question of whether to use a Mixolydian scale for improvisation over a dominant seventh chord depends on your level of talent and creativity. While it may take a bit more effort to make it fit, the potential rewards are significant. As you gain proficiency with the mode, you can use it to create unique and compelling solos. A diminshed scale, on the other hand, can also be an effective choice when improvising over dominant seventh chords.
Technical Exploration: The Mixolydian Mode in Action
During the 1970s, I attended a jazz festival at Northern Arizona University (NAU). I witnessed firsthand the diversity of solos from high school and college jazz bands. Most solos were built around seeking out the most consonant notes, which can lead to a sameness and predictability after a while. However, one notable solo stood out: Michael, playing first tenor sax for the University of Arizona band under Tom Ervin, blew his solo in E, a tritone away from the key of the song (Bb).
Michael applied the knowledge he gained from studying at NTSU and from the Thesaurus of Scales by Nicolas Slominsky. This innovative approach to soloing required a deep understanding of musical theory and creativity to make the notes fit. His solo brought the audience to its feet, demonstrating the power of using unexpected notes to create a unique and memorable performance. This approach, albeit risky, broke the norm and opened up new possibilities in jazz and blues improvisation.
The Role of Knowledge in Improvisation
To fully utilize the Mixolydian mode, it's essential to have a solid understanding of the key musical concepts. Books like W.A. Mathieu's Harmonic Experience can provide valuable insights into how different pitches and scales weave their meaning into music. Mathieu's work not only deepens your technical understanding but also helps you make musical statements through improvisation.
For instance, in a minor key, the 9th scale degree can be a great starting point, while in a major key, the 4th scale degree often serves as a strong foundation. As a jazz arranger, you can use this knowledge to create purposeful and meaningful music. The key is always to say something with your improvisation, bringing cohesion and depth to your solos.
Conclusion
The Mixolydian mode, when applied correctly over dominant seventh chords, can enrich your improvisational capabilities in the blues and jazz genres. Whether it's through the tritone approach as exemplified by Michael or simply by mastering the nuances of the Mixolydian mode, this mode offers a wealth of creative potential.
By delving into the rich tapestry of musical theory and applying it with creativity, you can unlock a new level of expression in your improvisation. Embrace the challenges and let the Mixolydian mode serve as a key to unlocking your full musical potential.