The Mixolydian b6 (Aeolian Dominant) Scale
This is one of my favorite exotic scales, and one used in so many rock, pop, and metal songs to make it practically obligatory knowledge for any musician. I am talking about the Mixolydian b6 (“flat sixth”), also known as Aeolian Dominant, or as the “Ten Years Gone” scale (after the 1975 Led Zeppelin song). It’s a scale with a very recognizable sound that I’m sure you will love.
How to Play It
As usual, let’s hear the sound of it before plunging into the theory. Here is a simple one octave pattern:
And here is a 3-octaves pattern (it repeats every two strings) that you can use once you are familiar with the one above.
The Theory Behind It
The A Mixolydian b6 scale is made by the notes: A B C# D E F G. For the ones of you familiar with modes, this scale is precisely like the A Mixolydian scale, but with a flatted 6th note (hence the name). Alternatively, one can see this scale as a minor scale with a major scale (that’s why it is called also Aeolian Dominant: it’s close to an Aeolian scale but it would sound good on an A7 chord, which is a dominant chord).
Personally, I like to think to this scale as a cross between a major and a minor scale. The first 5 notes (A B C# D E) are the same as the A major scale, and the last 4 notes (D E F G) are the same as the A minor scale. Since this scale is in between two well known scales, it does not sound very “exotic”, but it definitely sounds different. It’s a scale with lots of drama and lyrical possibilities.
Chords of the Mixolydian b6 Scale
More than for soloing, this scale is great to create song with. To do this we need to know what chords are associated with it. The A Mixolydian b6 generates the chords: A, B diminished, C#diminished, Dm, Em, F augmented, G. As yo can see, there are many “difficult” chords (diminished and augmented) and only few “simple” ones (major and minor). We can somehow avoid this difficulty by playing some of these chords without the 5th. for instance, F augmented is F, A, C#. If we play just the notes F and A, this will sound somewhat like an F major chord (F A C) but would still be in the scale.
Here is one possible chord progression built on the Mixolydian b6 scale. Note how in the F chord I am not playing either C or C#.
You can use this chord progression, or any other chord progression that you compose using the chords above, as backing tracks to solo with the Mixolydian b6 scale. As usual, let your ears be your guide and experiment as much as you can.
The Mixolidyan b6 is but one of the many exotic modes that you can play on your guitar. If you want to be able to play all of them and create awesome music, click on the button below to learn about Scales and Modes on guitar
