G Mixolydian Mode
The G Mixolydian Mode is the 5th degree of C Ionian (Major) Scale. The Mixolydian Mode has a Major 3rd Interval making it a major sounding mode. The only difference in sound between the Ionian (Major) and the Mixolydian Mode. The last note in the Major Scale the 7th (Major 7th interval) is moved down a half step to a b7 (Minor 7th Interval).
If you are doing ear training the Mixolydian Mode can easily be mistaken for the Ionian Major. Proper training helps to hear the subtle difference moving that last note down a half step. The first six notes played are same interval notes between the two scales.
Another big confusion with modes in the beginning. C Ionian (Major) and G Mixolydian are of the same key. Parallel modes are two different scales with the same tonal center, G Ionian (Major) and G Mixolydian are now two different keys. Key Signature G Major 1 sharp and D Major 2 sharps with the 1 raised 1/2 step note.
The scale diagrams below display 2 Octave fingering played starting at the 3rd Fret. They show the Interval, Note, and Finger Placement of G Mixolydian Mode. This is a quick and easy option to view with Guitar Analyzer Software. Physical practice playing these fingerings straight up ascending and down descending. Helps beginners develop their auditory intelligence along with physical dexterity muscle memory.
The next level of practice is sequences which is a repeating pattern of notes. Here is a triplets style pattern (121, 232, 343, and so on) with each group of 2 notes going up the scale. The next ascending triplet sequence is up 3 notes (123, 234, 345 and so on). Repeat the process going in a backward sequence descending from the highest note.
Here are some Hybrid scale examples that you can explore with the Guitar Analyzer Software. These scales can created by adding notes or moving notes to the Minor Pentatonic Scale. I’ll start with the adding note scale examples. The first Blues Scale example is a very common scale used in Blues and Rock, the A Blues Scales. This scale is from adding a Passing Tone b5 (Diminished 5th) note to the Minor Pentatonic Scale. The passing tone is the note not related to the notes of the Major Scale Key. Usually passing tones sound a little off when you play them but with this particular scale it has a great sound in most soloing situations were you would be using the Minor Pentatonic Scale.
The next Hybrid Blues Scale is the Blues Chromatic Scale that is created by adding two notes Minor Pentatonic Scale. It not only has the diminished 5th added but also the Major 3rd which is not always a passing tone. The unnatural thing about this scale it has four chromatic half steps in a row. A lot of country style guitar players use this scale and they apply a lot of unique chromatic lick variation to these half step notes in their solos.
The next hybrid blues scale is created by moving instead of adding notes by moving the Minor 3rd of the Minor Pentatonic scale up half step to the Major 3rd Interval. This gives a little bit of a Middle Eastern or Gothic sound. The scale relationship of this scales relates to the Mixolydian Mode the fifth degree of the Major Scale and the Phrygian Major Mode fifth degree of the Harmonic Minor Scale. This scale is used in solos by some Rock and Metal Guitar Players Kirk Hammett, George Lynch and Neal Schon, .
The last hybrid blues scale shown is also another scale from moving a note . This scale is is called the Major 6 Pentatonic Scale created by moving the Minor 7th of the Minor Pentatonic Scale down a half step to the Major 6th. The scale relationship of this scale relates to the Dorian Mode the second Degree of the Major Scale. This scale is used by some jazz and jazz fusion guitar players by artists like Allen Holdsworth, Robin Ford and Frank Gambale.
All the diagrams below can easily be explored in much greater depth within the Guitar Analyzer Software.