Mixolydian Pattern 5

[Matt Helbing]

Hi Richie,

I was wondering if you could explain why Mixolydian Pattern 5 doesn’t include the 6th interval on the 1st string or the 4th interval on the 6th string. Is this because it would require a position shift?

Thanks much,
Matt

[Richie]

Hi Matt,

Yes, in pattern 5, the 6th interval is available on the 1st string as well as the 4th interval on the 6th string. The reason I don’t have it on the notation nor diagrams is because the focus of these fingerings is the 4 note “7th chord arpeggio”. The scales from the bebop point of view,as I will demonstrate throughout this course, should be primarily understood as structures made up of chord tones (1, 3, 5, 7) and non chord tones (2,4,6) which in the original scale are acting as “passing tones”.

Depending on the scale, the 2, 4 or 6 might be available as upper extensions. However for ear training purposes, until we get into the details, I prefer to teach each scale/arpeggio always starting and ending on a chord tone. This I have chosen to do as the result of students sometimes hearing a given scale improperly, due to the fact that they started it, for instance on a “4”, and their aural orientation of the true root was lost!

I hope this somewhat answers your question. I will get deeper into this subject when I teach the use of “approach notes” in Module 2.

[Matt Helbing]

I see what you mean re: the aural reference. Thanks for the info!

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