Introducing the Mixolydian b13 Pentatonic Scale.pdf

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Introducing the Mixolydian b13 Pentatonic Scale - MattWarnockGuitar.com | MATT WARNOCK GUITAR
14-8-2014
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MATT WARNOCK GUITAR
How to Play The Mixolydian b13 Pentatonic Scale
Dominant 7 chords are some of the most common and most colorful harmonic groups in modern music. Though many of us learn how to play the Minor Pentatonic, Minor
Blues and maybe even the Mixolydian Mode over these chords,
we are often stumped as to where to go next when exploring melodic options over 7th chords.
One of the easiest and coolest ways to expand your dominant 7th vocabulary is to check out Altered Pentatonic Scales, such as the Mixolydian b13 Pentatonic Scale. In
this article, we’ll be breaking down this interesting scale, learning how to apply it, practice it and begin to improvise with it in the practice room.
Click to visit the
Beyond Basic Pentatonics: Altered Pentatonic Scale for Guitar Homepage
Have a question or comment about this lesson? Visit the
Mixolydian b13 Pentatonic Scale thread at the MWG Forum.
Mixolydian b13 Pentatonic Scale
The Mixolydian b13 Pentatonic Scale is closely related to the Mixolydian Pentatonic Scale, with only one note difference between these two, five-note scales. Both
pentatonic scales are related to the
Mixolydian Mode,
and therefore you can use this scale to improvise over 7th chords, creating a 7b13 sound over those changes.
You can also relate this scale, Mixolydian b13 Pentatonic, to the
fifth mode of the melodic minor scale,
which is like a Mixolydian mode with a b13.
Here is how the Mixolydian Pentatonic and Mixolydian b13 Pentatonic Scale look like from an intervallic standpoint.
Mixolydian Pentatonic Scale
Root M2 M3 P5 m7 Root
Mixolydian b13 Pentatonic Scale
Root M2 M3 m6(m13) m7 Root
So, you can notice that the Mixolydian b13 Pentatonic Scale is just like a
Mixolydian Pentatonic Scale
with the 5th raised by one half-step. This means, that if you know
your Mixolydian Pentatonic Scales, then all you have to do is find the 5th, raise it by one fret, and you’ve got yourself a Mixolydian b13 Pentatonic Scale.
Here is how the Mixolydian and Mixolydian b13 Pentatonic Scales look on paper, side by side for comparison.
Learn Jazz Guitar Scales and Scale Patterns with the
Matt Warnock Guitar Jazz Scales App.
Mixolydian b13 Pentatonic Scale Fingerings
Below are four of my favorite fingerings for the Mixolydian b13 Pentatonic Scale, two that stay in position and two that shift up the neck for the second octave.
Check these fingerings out and see how they fit under your fingers in different keys across the neck. Once you have them down, try and come up with some of your own.
Maybe put together a three-octave fingering for this scale, or simply alter the Mixolydian Pentatonic Scale fingerings that you already know to derive new fingerings for
this scale.
Most importantly, once you have a fingering down, put on a 7th chord vamp, or your metronome, and improvise through the scale over a set of harmony. Learning to
play the scale up and down is one thing, but learning to improvise and create music with it is a whole other skill set, one that can only be learned by spending time in the
woodshed improvising with this, and any other scale that you know or are working on.
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Introducing the Mixolydian b13 Pentatonic Scale - MattWarnockGuitar.com | MATT WARNOCK GUITAR
14-8-2014
Mixolydian b13 Pentatonic Scale Patterns
One of the best ways that you can internalize any scale is to apply a melodic pattern to each fingering you know for that scale. In the example below, I have written out a
pattern that I really like to use over the Mixolydian b13 Pentatonic Scale, both ascending and descending through the fingering.
The pattern is built off of a three-note melodic idea, running down three notes from the third, then down three notes from the b13th etc. until you reach the top of the
fingering. Then, on the way down, you reverse the same pattern. So, you run up three notes of the scale from the b13, then up three notes from the 3rd etc. all the way
down to the bottom of the fingering.
Because this pattern is three-notes long, and you are using an 8th note rhythm to apply it to the scale, you are
creating a high-level of rhythmic syncopation during this
exercise.
This means that each time you start the pattern, you begin on a different beat in the bar. So, the first three-note pattern starts on beat one, then the second
starts on the & of 2 and the third on the fourth beat and so on. This is a great way to add more interest to this, or any, melodic pattern.
Mixolydian b13 Pentatonic Scale Blues Solo
One of the most important things to do when you are working at
becoming a better jazz guitarist,
is to take any concept you are working from a technical standpoint, and
apply it to a real-life situation such as a standard or other tune.
In the following example I have taken the Mixolydian b13 Pentatonic Scale and used it to create a solo over a C Blues. I used the Mixolydian b13 Pentatonic Scale for
each dominant chord in the progression, C7, F7 and G7.
After you have worked through this solo, memorized it or at least to the point where you can read through it along with a playalong, try writing one out on your own.
Then, when you are comfortable, put on a C Blues backing track and improvise over the changes using only the Mixolydian b13 Pentatonic Scale whenever you come to
a dominant 7 chord in that progression.
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Introducing the Mixolydian b13 Pentatonic Scale - MattWarnockGuitar.com | MATT WARNOCK GUITAR
14-8-2014
Though the Mixolydian b13 Pentatonic Scale isn’t the most common or popular five-note scale, it can go a long way in expanding your dominant 7th vocabulary, while
keeping things grounded in the pentatonic family of scales at the same time.
Do you have a favorite way of applying or practicing this scale? If so, please share it in the comments section below.
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Introducing the Mixolydian b13 Pentatonic Scale - MattWarnockGuitar.com | MATT WARNOCK GUITAR
14-8-2014
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