Chords for The Mixolydian Hourglass Pattern | Modern Blues Lives Here

Tempo:
60.55 bpm
Chords used:

G

Gm

F

C

D

Tuning:Standard Tuning (EADGBE)Capo:+0fret
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The Mixolydian Hourglass Pattern | Modern Blues Lives Here chords
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[F] [G] [Bb]
[G] [Gm] [F]
[Gm] Hey guys, this is Rick at Tasty Guitar.
A couple weeks ago I did a lesson called the Dorian Hourglass Pattern.
And to refresh your memory, it was basically a five [Eb] note grouping [A] derived from the Dorian
mode that kind of looked like this hourglass shape here.
And since then, a lot of people have asked, is that shape movable to other strings?
And the answer is yes, it is.
If I move this same shape, everything [B] down one string, [G] [A] down here, it [G] is no longer part of Dorian.
It's actually coming [E] now out of Mixolydian, [G] G Mixolydian.
Okay, in this position [F] I would have [G] the flat 7, [B] root, major [D] 3rd, [E] 5th, and [G] 6th [E] of G Mixolydian.
Now the great thing about this little five note grouping is it's right in the middle
of the pentatonic box you've already been [G] playing.
So G [Gm] pentatonic here, our little five note [G] shape, our hourglass, is [Em] right here, right
inside of it.
[Abm] Okay, so kind of think about this as [F] Mixolydian light.
Although we're not playing the full scale, we're leaving a couple notes out, we do [Gm] have
most of [E] the tones that we need to give you the flavor [F] of it.
Flat [G] 7, root, [Bm] that major 3rd, [Em] 5th, and the 6th.
[F] [Gm]
[Bb] [F] We can also use these chromatic passing tones.
So I can go [G] from flat 7 to the [Gm] root, [F] [G] and also the 5th to the [Eb] 6th.
[E]
[Bb] I'm back.
[G] Also, we can [Bb] bend some of the notes.
We can bend this major 3rd to [Dm] the 4th.
[G] [F] [G] We can [Gb] also bend the 6th to [Gm] the flat 7th.
[Em] [G]
[Gm] [Em] [G]
Now since this little five note shape lives right inside the pentatonic box, it's really
easy to start kind of mixing these two sounds together.
Mixolydian and then regular pentatonic licks.
[Gm] [Em] [F] [Gm]
[Bb] [Dm] [G] [Dm] Mixolydian.
[Gm]
[F] Pentatonic.
[G] [F] [D]
[F] [Bb] [Gm] [Dm] [C] [Gm]
[G] Now, because this little five note grouping is coming out of the Mixolydian mode, we're
going to use it with dominant chords.
These are your 7ths, 9ths, your 13ths.
I was playing over a G7 chord.
Here's my pattern.
I'm thinking of my root right here on the 6th string.
Now if we were playing a 12 bar blues in G, my 4 chord would be [C] C, C dominant.
I could play [C] that pattern right [E] here.
[D] The 5 chord would be D, right there.
[Ebm] And this is all fine.
You should know where these patterns are.
But it's a little bit more convenient to find these same notes down in this 3rd fret position
because that's where our blues box is.
Okay, so [C] if we take the same [Am] notes that we had on that C, [Gm] playing down here, [C] [D]
we now have
this kind [Bb] of U shape.
It's no longer an hourglass.
[C] [Am] And for [D] the 5 chord, [C] there's our root.
[D] [Bm] [C] There it is.
[D] Flat 7 root, 3rd, [Bm] 5th, and 6th [C] of the D.
[C] [Am] [C] C.
[G]
Back to our hourglass over the [Em] G.
Okay, I'm now going to just [G] play over a G12 bar blues trying to use these shapes.
[Em] There's my G hourglass.
[Gm] [C]
[D] [G] I see U shape.
[Ab] [D]
[A] [Eb] [D] G. G.
Again, [G]
G hourglass.
Let's [C]
[Gm] [G] [Bb] [Gb]
[Gm] [D] [G] [E] [Gm] mix in a little bit of [Bm] pentatonic with this now.
[N] [Gm] [G] [C] [Em] [Gm] It's a [Eb] C, U shape.
[Dm] [G] [Gm] Back to blues.
[Bb] [D] [D]
[Am] [G] [F] [Gm] [Bm]
Alright guys, thank you so much for coming by today and checking out this Mixolydian hourglass shape.
This is a great way to kind of get your feet wet, get started on using this mode without
having to learn a bunch of different scale shapes and patterns yet.
As always, if you did enjoy the lesson, please like, share, and subscribe.
And come by www.tastyguitar.ta.com where I have a lot of other free lessons for you and I do offer private instruction via Skype. This has been Rick. Thank you.
Key:  
G
2131
Gm
123111113
F
134211111
C
3211
D
1321
G
2131
Gm
123111113
F
134211111
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[F] _ _ _ _ [G] _ _ [Bb] _ _
[G] _ _ _ _ _ _ [Gm] _ [F] _
[Gm] _ _ Hey guys, this is Rick at Tasty Guitar.
A couple weeks ago I did a lesson called the Dorian Hourglass Pattern.
And to refresh your memory, it was basically a five [Eb] note grouping [A] derived from the Dorian
mode that kind of looked like this hourglass shape here.
And since then, a lot of people have asked, is that shape movable to other strings?
And the answer is yes, it is.
If I move this same shape, everything [B] down one string, [G] [A] down here, it [G] is no longer part of Dorian.
It's actually coming [E] now out of Mixolydian, [G] G Mixolydian.
Okay, in this position [F] I would have [G] the flat 7, [B] root, major [D] 3rd, [E] 5th, and [G] 6th [E] of G Mixolydian.
Now the great thing about this little five note grouping is it's right in the middle
of the pentatonic box you've already been [G] playing.
So G [Gm] pentatonic here, _ our little five note [G] shape, our hourglass, is [Em] right here, right
inside of it.
[Abm] Okay, so kind of think about this as [F] Mixolydian light.
Although we're not playing the full scale, we're leaving a couple notes out, we do [Gm] have
most of [E] the tones that we need to give you the flavor [F] of it.
Flat [G] 7, root, [Bm] that major 3rd, [Em] 5th, and the 6th.
[F] _ [Gm] _
_ [Bb] [F] We can also use these chromatic passing tones.
So I can go [G] from flat 7 to the [Gm] root, [F] _ [G] and also the 5th to the [Eb] 6th.
[E] _
[Bb] I'm back.
[G] _ _ Also, we can [Bb] bend some of the notes.
We can bend this major 3rd to [Dm] the 4th.
[G] _ _ _ [F] _ [G] We can [Gb] also bend the 6th to [Gm] the flat 7th.
_ [Em] _ _ [G] _ _
[Gm] _ [Em] _ _ [G] _ _ _ _ _
Now since this little five note shape lives right inside the pentatonic box, it's really
easy to start kind of mixing these two sounds together.
Mixolydian and then regular pentatonic licks.
[Gm] _ [Em] _ [F] _ [Gm] _
_ [Bb] _ [Dm] _ [G] _ _ [Dm] Mixolydian.
[Gm] _
_ [F] Pentatonic.
[G] _ _ _ [F] _ [D] _
[F] _ [Bb] _ [Gm] _ _ [Dm] _ [C] _ [Gm] _ _
_ [G] Now, because this little five note grouping is coming out of the Mixolydian mode, we're
going to use it with dominant chords.
These are your 7ths, 9ths, your 13ths.
I was playing over a G7 chord.
Here's my pattern.
I'm thinking of my root right here on the 6th string.
Now if we were playing a 12 bar blues in G, my 4 chord would be [C] C, C dominant.
I could play [C] that pattern right [E] here.
[D] The 5 chord would be D, _ right there.
[Ebm] And this is all fine.
You should know where these patterns are.
But it's a little bit more convenient to find these same notes down in this 3rd fret position
because that's where our blues box is.
Okay, so [C] if we take the same [Am] notes that we had on that C, [Gm] playing down here, [C] _ [D]
we now have
this kind [Bb] of U shape.
It's no longer an hourglass.
[C] _ [Am] And for [D] the 5 chord, [C] there's our root.
[D] _ _ [Bm] [C] There it is.
[D] Flat 7 root, 3rd, [Bm] 5th, and 6th [C] of the D.
[C] _ _ [Am] [C] C.
[G]
Back to our hourglass over the [Em] G.
Okay, I'm now going to just [G] play over a G12 bar blues trying to use these shapes.
_ _ [Em] There's my G hourglass.
[Gm] _ [C] _
[D] [G] I see U shape.
_ _ [Ab] _ [D] _ _
_ [A] _ _ [Eb] [D] G. G.
Again, [G] _ _
G hourglass.
Let's _ [C] _ _
[Gm] _ [G] _ _ _ _ [Bb] _ [Gb] _ _
[Gm] _ [D] _ [G] _ [E] _ [Gm] mix in a little bit of [Bm] pentatonic with this now.
[N] _ [Gm] _ _ [G] _ [C] _ [Em] [Gm] It's a [Eb] C, U shape.
[Dm] _ [G] _ [Gm] Back to blues.
[Bb] _ _ [D] _ [D] _
_ [Am] _ [G] _ _ [F] _ _ [Gm] _ [Bm]
Alright guys, thank you so much for coming by today and checking out this Mixolydian hourglass shape.
This is a great way to kind of get your feet wet, get started on using this mode without
having to learn a bunch of different scale shapes and patterns yet.
As always, if you did enjoy the lesson, please like, share, and subscribe.
And come by www.tastyguitar.ta.com where I have a lot of other free lessons for you and I do offer private instruction via Skype. This has been Rick. Thank you. _

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