This is a public version of the members-only Fiddle with Darol Anger, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Fiddle with Darol Anger.
Join Now

Beginner Fiddle
 ≡ 
Intermediate Fiddle
 ≡ 
Advanced Fiddle
 ≡ 
Jazz & Blues Fiddle
 ≡ 
30 Day Challenge
 ≡ 
+Music
 ≡ 
Video Exchange Archive
 ≡ 
«Prev of Next»

Fiddle Lessons: The Mixolydian Mode

Video Exchanges () submit video Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory
information below
Lesson Specific Downloads
Play Along Tracks
Close
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Fiddle

This video lesson is available only to members of
Fiddle with Darol Anger.

Join Now

information below Close
Information
 ≡ 
Course Description
 ≡ 

This page contains a transcription of a video lesson from Fiddle with Darol Anger. This is only a preview of what you get when you take Fiddle Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
X
Log In
X
[MUSIC]
Okay,
we're gonna talk about another scale
that's really important in blue grass
music, and in just about all contemporary
American music, and traditional music.
It's called the mixolydian mode.
And the mode.
It's like a scale.
The modes were invented by the Greeks, and
they basically came up
with a set of scales that connected to
each other in a really beautiful way.
And they, their basic mode, was exactly
like a major scale.
So even back then, people were doing major
scales, and they just called them modes.
But this particular scale has sort of
survived as itself.
And you'll recognize it as soon as you
hear it.
It's basically a major scale, with the
seventh note of the scale being flat.
So instead we have, instead of a major
scale.
[MUSIC]
We're still in A by the way.
We're doing all this stuff in A.
A major.
[MUSIC]
If we play the mixolydian A
[MUSIC]
We get that last note.
[MUSIC]
One, two, three, four, five, six, seven.
We're flatting the seventh note.
Whereas, as a major scale it would be.
[MUSIC]
In the mixolydian scale.
[MUSIC]
It's that.
And that, from that we get all kinds of
great sounds we get
[MUSIC]
Yes.
The mixolydian is also called when you
make a chord out of it,
it's called a dominant type chord, or a
seventh chord.
It's the scale that goes with an A7 chord.
[MUSIC]
We're gonna be talking about chords later.
But, it's that kind of Rock and Roll, kind
of modal.
When people say modal that's one of the
things they mean.
[MUSIC]
It's that sort of, kind of slightly bad.
You know, bad in the sense of good, bad.
Can have sound.
Scale sound.
So, it's a fun sound.
If we go down to the bottom two strings.
Again, it's.
[MUSIC]
If we stay up on those high two strings.
[MUSIC]
So,
we're actually playing a G natural there,
instead of a G sharp.
So lot of tunes that use this mode and,
and its kind of like a rock and roll
scale.
It's the easy scale.
It's the scale that people use, when they
are about to go to another chord.
In fact this, the A next to the mixolydian
scale,
mode is very closely related to a D major
scale.
That's its connection.
If we play a D major.
[MUSIC]
If we start and
end at D major scale on an A note, we get
a mi, A mixolydian.
So all these scales.
Are related in specials ways to other
scales which
tell us interesting things about the key.
It makes certain ways of putting chords
together work, makes it sound right,
makes it feel right when we have different
chords in songs.
There's all kinds of rules.
That help us to make songs that sound
good.
And so these relationships are some of
those.
So, a lot of great tunes in mixolydian
mode.
One of the greatest, of course, is Old Joe
Clark.
Another song, another tune about a.
Kind of a rascally fella who just couldn't
get
along with anybody, and so he got famous
after he died.
[MUSIC]