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"All Blues" - Mixolydian Blues study! Escape Pentatonic Prison! (Patreon)

Published:
2024-06-01 14:00:15
Imported:
2026-08
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This week we take a deep-dive in to the Mixolydian scale.. a crucial step away from Pentatonic-only soloing. We learn the scale thoroughly, including the triads and arpeggios found within. Then we take our new-found shapes and sounds and apply them to a Miles Davis "All Blues" style 12 bar Blues in G, with a killer 3/4 groove! 👌🏻

Lesson materials bumper pack, includes the Lead study itself, as well as the chord accompaniment and also the Mixolydian scale breakdown with all triads and arpeggio shapes! 😮‍💨😅

Files

Escape Pentatonic Prison! Mixolydian Blues fusion soloing on "All Blues" Larry Carlton style! Lesson

Access all lesson materials by becoming a Patreon at the link below for just a small monthly cost!.. https://www.patreon.com/AlexFarranGuitar Book in for a private Zoom lesson to level up your playing, or find new inspiration!.. just choose a slot at the link below; https://tidycal.com/alexfarranguitar/guitarlesson -------------------------------------------------------------------------- This week we take a deep-dive in to the Mixolydian scale.. a crucial step away from Pentatonic-only soloing. We learn the scale thoroughly, including the triads and arpeggios found within. Then we take our new-found shapes and sounds and apply them to a Miles Davis "All Blues" style 12 bar Blues in G, with a killer 3/4 groove! 👌🏻 Lesson materials bumper pack, includes the Lead study itself, as well as the chord accompaniment and also the Mixolydian scale breakdown with all triads and arpeggio shapes! 😮‍💨😅 ⏱️TIMESTAMPS⏱️ 00:00 - Performance 01:23 - Introduction Videos to check out; People Get Ready Parts 1 and 2; https://youtu.be/w-kZDO-IyQ4?si=c6pw3MZzgBOUQapS https://youtu.be/Bt9H4mBMHVU?si=cz648DhRxceQZsJT Jump Blues lead study; https://youtu.be/XJ1URutE1FA Chicago Blues lead study; https://youtu.be/jLeaGl2IYKI Minor Key Blues study, ala "Thrill is Gone"; https://youtu.be/qH1YMGWNYcc Swampy Texas Blues study; https://youtu.be/sS3K1VXuthA Delta Blues - Unaccompanied fingerstyle guitar lesson; https://youtu.be/09qZcCuf15k Jazz Blues/Bebop lead study; https://youtu.be/AEq2hZEZtr4?si=RD3-4YMiJC-984wE ---------------------------------------------------------------------- Gear used in this video; Gibson es335 63' reissue Sunbear PAF pickups (Alex Hamilton wind) DR Pure Blues 11-50 gauge strings Jim Dunlop H3 picks Lazy J20 amp Jam Pedals Lucydreamer overdrive pedal Strymon Flint (reverb) Universal Audio OX - amp top box Universal Audio Apollo Twin X Logic Pro Universal Audio plugins Sony ZVE-10 camera Neewer Desktop Tripod Final Cut Pro Thanks for watching! Instagram: https://www.instagram.com/alexfarranguitar/ Buy me a coffee: https://www.buymeacoffee.com/alexfarran #blues #jumpblues #fusion #bluesfusion #fusionguitar #robbenford #larrycarlton #jazz #jazzblues #bebop #swing #boogie #boogiewoogie #westernswing #12barblues #bluesguitar #guitar #guitarsolo #guitarist #guitarlesson #guitarteacher #instrumental #inspiration #soul #motown #rnb #leadguitar #rhythmguitar #juniorwatson #tinygrimes #charliebaty #billjennings #billybutler #seancostello #charliechristian #charlieparker #fender #stratocaster #strat #lazyj20 #lazyjamps #vintagegear #vintagetone #vintagemusic #fendertweed #1950s #1940s #bbking #chicagoblues #guitarlicks #mixolydian #theory #triads #arpeggios #pentatonicrut #pentatonicprison #milesdavis #themodes #modes #allblues

Comments

Johan

Coffee in hand, ready to go.

George Nichols

Question ,are you staying in the G mixilydian thru the entirs piece or are you going to the say C7 mixolydian shape 1 over the C chord?D7 over the D7 chord.

George Nichols

It appears you are useing the full C7 chord with the b7 on 11 fret B string

Alex Farran Guitar

Hey buddy, like I say in the video, I’m moving up to play C mixolydian over the C7 chord 😉👍🏻

George Nichols

Wow, went thru most of the study just what the doctor ordered.Thank you so much.

tyler taube

Free me from the pentatonic prison!

daniel Cioper

Love your lessons Alex. I have a question I’ve been wondering a long time. People talk about the Mixolydian mode and sometimes it’s a flattened 7th but it’s also the 6th mode of the major scale which is different notes, right?

Tim Wallace

Sorry to jump in on this before Alex answers, but the Mixolydian mode is the 5th mode of the major scale. The 7th tone is flatted compared to a major scale starting on the same tone because of the arrangement of half steps and whole steps. So for example, in the key of C, the mixolydian mode starts on G. The notes are G-A-B-C-D-E-F-G. Note the full step between F (seventh tone) and the octave tonic (G). If this were a G major scale, the seventh tone would be F#, hence the idea of a flatted seventh compared to a major scale. The G mixolydian mode fits the G7 chord really well because the G7 chord is spelled G-B-D-F - all of the tones are contained the G mixolydian scale as well as the C scale and the G7 chord is the V (dominant) of the key of C. Hope that is helpful! Really nice book on modes is this one: https://www.amazon.com/Modal-Soloing-Strategies-Guitar-Modern/dp/0739071629/ref=sr_1_1?crid=3LBGY42UEHPYQ&dib=eyJ2IjoiMSJ9.Ob2_Q_K2I2stH5HJv29AVDpJN2l6FzFFrW7GL2bXCH3GjHj071QN20LucGBJIEps.9ahdCJYuQFzzFBEkQfYI3qJFfoLvkJo5wjcY7Xml7rA&dib_tag=se&keywords=jody+fisher+modal+soloing&qid=1717277109&s=books&sprefix=jody+fisher+modal+soloin%2Cstripbooks%2C119&sr=1-1

Johan

This lesson makes me look at this song in a different light. The move over the I chord is not at all dissimilar to something from Charlie Christian or something. Then Miles just lays all that modern suspended sounds over the IV. As always, a lot of value in your song choices Alex.

Andrew Plummer

Great lesson Alex. I completely agree with your point about the naming of the Mixolydian. There are so many names/terms in music that make concepts seem more complicated than they actually are!

Alex Farran Guitar

Thank you Tim, I appreciate you hopping in to answer the question. I couldn't have said it better myself 👍🏻

Alex Farran Guitar

Thanks buddy, glad you enjoyed it! Exactly.. it would be nice to start from scratch sometimes and rename these things! 😅

Mark Douglas

I am still struggling with the whole scale --> arpeggio --> triad connection - I am going to dive into this as it seems to be the right path. Alex - this is deep and excellent content - if you have any guidance on how to approach, welcome that feedback. I know my triad shapes - major and minor - but the arpeggio landscape is not clicking. I once knew all of this and how to read, so it's all "there" --- waiting for the matrix to reveal itself! Alex (or fellow member here), if you have another lesson you think could be of use, also welcome that guidance. Thanks!

daniel Cioper

Thanks. You straightened that out for me.

daniel Cioper

This’ll open a lot of doors for me. Now I can just picture the C scale if I want to play G Mix

Tim Wallace

Exactly the same tones! Trust your ears because the note choices over the respective chords (C and G7) are going to sound different against the background harmony. I got a piece of advice from a very, very good player many years ago that took a while to sink in, but ultimately made a huge difference: think 3rds and 7ths of any chord as the most important notes and use the other notes as color. The thirds and sevenths are what tell the listener what they're hearing.

Tim Wallace

Nice lesson, Alex. One of my all-time favorite tunes from maybe the best jazz record ever made. You really nailed the RF/LC tone and showed some really, really tasty phrasing and touch. I'm in awe. Thanks for the gear info at the end. Just curious if you have ever used the Effectrode Blackbird SR-71. I recently added one to my pedalboard, it eats up a ton of space, but I really love the sound of it, quiet as a church mouse. I'm still experimenting with the OD channel as the stock 12AX7 sounded a bit harsh to my ears and I'm currently running an RCA NOS 12AV7, much smoother and defined.

Trever Swearingen

Typically exceptional lesson. All the materials are exhaustive, accessible, and appreciated! Thanks Alex.

Mats Karpestam

Second Lesson for me. Right down my alley as I'm stuck in the sticky pentatonic pathway. But not for long though!

tyler taube

The scale practice runs PDF was great. I can incorporate this into my quick practice sessions.

Benny A

I had previously bought Sleepwalk as a one-off purchase, but after digging around the YouTube channel and coming across this one, I decided to become a full subscriber. Keep up the great work, Alex.

JDub

Great lesson Alex. I especially like the exercises to nail the scale. I do have a question about working the triads: Why is the third triad a diminished triad rather than a minor triad?

Alex Farran Guitar

Thanks buddy, glad you enjoyed it! To answer your question, it's best to think about the mixolydian scale in its harmonic context. Remember that it's simply the 5th mode of a Major scale, so the triads that surround it are no different to the triads of a normal major scale, it's just that now we're starting from the 5th stop along the road as opposed to the 1st. It's hard to describe in writing, but essentially, here are the C major scale triads in order: 1- C Major 2- D minor 3- E minor 4- F Major 5- G Major 6- A minor 7- B diminished So, now simply start from 5 and you have: 5- G Major 6- A minor 7- B diminished Which, if we're treating the G major as the new tonic thus thinking Mixolydian, we have: 1- G Major 2- A minor 3- B diminished 4- C major 5- D minor 6- E minor 7- F Major

JDub

Thanks Alex. That makes so much sense when we look at it as a mode. It in fact helps to clarify for me the whole concept of modes...So this would be "C Mixolydian" (as if modes weren't confusing enough), correct?

Alex Farran Guitar

Glad it’s helping it to make more sense! No, not C Mixolydian, the example I gave above would be G Mixolydian (5th mode of the C Major scale)

JDub

Got it. So C Mixolydian would be in F then. Thanks again.

Elliot Swain

Alex, when describe the c7 section in solo2 and you describe this section as the Ebm7 arpeggio, do you mean just he section of the c7 arpeggio that shares the same notes? or are you thinking Ebm7? Similarly with the bm7 portion of the G 7 arpeggio you later elude to. I got thrown for a loop for a sec with the Ebm7 reference but hopefully im understanding now.

Mark Schmitz

Hi Alex, Does a video exist of you Playing the progression - Love that rhythm groove.