Mixolydian solo Featuring triads
Shaun Baxter consolidates what we’ve learned about extracting Mixolydian triads in a solo study that shifts through the keys.
Recently, we have explored a range of approaches in order to develop repertoire in all five CAGED shapes of Mixolydian mode (Diagram 1). Over the next few lessons, we’ll be stringing ideas together to create medium paced solos so that you can play each from start to finish. In this first lesson, we’ll begin with triads.
The studies will feature melodies as well as lines, and display a balance of approaches (space, rhythmic denominations etc) to help make each sound musically cohesive. Although contrived to a certain extent so that we can prise in as many relevant concepts as possible, each idea will feature and be flanked by articulations (bends, slides, vibrato) and Mixolydian or Blues scale vocabulary to allow you to hear each concept in a natural setting.
Our backing track requires you to take Mixolydian through a series of key changes (playing Mixolydian from the root of the chords: A7-C7-D7-F7-G7), and will allow you to play through the entire sequence while staying in the same area of the neck using an appropriate CAGED shape for each idea.
We’ll start by refreshing our knowledge of each CAGED shape for A Mixolydian. Then transpose each of those shapes to C7-D7F7-G7. Finally, refer to Diagram 2 so that you can practise changing key with Mixolydian from A to C to D to F to G in each area of the neck. Start with the top row – working your way across as your hands stays poised over the 5-7th fret area. Then work your way through the second row with your hand poised over the 7th-9th fret area, etc
Although you will naturally want to start by playing each scale up and down its length, musically you want to strive for more elegant transitions, which often entails moving to the nearest note in the following scale (ideally a chord tone). You can choose a note that doesn’t belong to the previous scale to accentuate the difference in tonality, or one that’s common to both scales which will help to unify them. Note, rather than always having to change to a new scale on beat 1 of the new chord, you can also resolve to that chord early (by as much as half a bar) which has the effect of creating tension over the last part of the chord on which you are playing, before resolution arrives in the form of the following chord: a device often used by Allan Holdsworth (this control of the sweet and sour effects of tension and resolution is the cornerstone of good jazz improvisation). To help you understand what’s happening within our triad-based solo, Diagram 3 shows a list of all the triads within each Mixolydian scale (in this case, from A-C-D-F-G roots, with each one given a Roman numeral as it relates to the parent key, of which Mixolydian is mode V). For example, A Mixolydian is the fifth mode in the key of D: that’s why D is shown as (I) for A Mixolydian and A as (V).
Throughout the solo, although many phrases are confined to a particular CAGED shape, others straddle two shapes at the same time, or even move laterally through several shapes. The CAGED system does not define the way that you play: it’s simply a visual reference system for seeing the notes on the neck.
Once you’ve mastered the solo, experiment with your own triad-based ideas over the backing track. Remember that musical connections between key changes tend to be more relevant when you play what’s under your hand rather than shifting position, which forces you to reset your ideas every new chord. The aim should be to continue your flow uninterruptedly; so it’s good to practise thematic development by starting with a musical idea (keep it simple) then coming up with an equivalent on each new chord.
Finally, chord tones (1-3-5- will give you the strongest resolution to each new chord, so limit yourself to just these notes to start with before moving to every other note of the scale.
In the following lessons, we will be looking at similar solo studies using arpeggios, Pentatonic scales and chromatic ideas, so that you get to build up your approach over the same backing track; however, bear in mind that, although it’s musically characterbuilding and often productive to work within the strict confines of a set limitation, a well-balanced improvisation will not be limited to any particular approach, but will draw upon the full gamut of concepts and possibilities. There’s loads to explore!