La escala mixolidia

Chris Haigh
Chris Haigh

Lesson time: (9min 22sec)

Chris Haigh explica los modos en el violín y por qué la escala de G mixolidio es tan útil para los violinistas de fiddle.

© 2011 Schott Music Ltd, London

Course preview

This lesson is part of the course Fundamentos del violín rock
Watch a preview of the full course below.

Lesson transcript:

Understanding Modes in Music

Hi! In this lesson, we're going to talk about modes. I have to admit, I am a late convert to the concept of modes. I always thought it was an overly intellectual idea without practical use, and I didn't understand it at all. However, I took the time to explore what modes actually are, and I discovered they offer some really useful insights for violinists.

Introduction to Modes

Let's revisit the piano, specifically the white notes, which correspond to the C major scale. Let's play that nice and simple and straightforward.

If we start not on C, but on the next note, and make a scale out of that, we have what's called the D Dorian mode.

The D Dorian Mode

The D Dorian mode has all the same notes as the C major scale, but here's the catch:

  • Starting and ending phrases not on C, but on D, creates a whole new set of intervals.
  • This results in a minor scale rather than a major scale, which gives it a distinct sound.
  • Notably, the D Dorian mode incorporates a raised sixth, which is unexpected on the fiddle because a typical minor scale would include a natural sixth.

This effectively creates a new scale, and any melody built around it will sound quite different.

Exploring Other Modes

Here's a brief overview of some additional modes:

  • E Phrygian Scale: Starts with an interval of a minor second and sounds very different from the previous ones.
  • F Lydian: Another unique sound.
  • G Mixolydian: We will return to this one since it is particularly useful for fiddlers.
  • Aeolian: A standard mode.
  • B Locrian: Quite weird; you'll notice how strange it is once you try to create a melody with it.

The Origins of Modes

One reason modes can seem daunting is due to their strange names. These names originate from a Greek philosopher who named different scales after Greek tribes that used them in traditional music.

Modes were rediscovered in medieval times and were used in church music, later gaining attention from jazz and rock musicians in the '60s and '70s due to their practicality.

Key Modes for Fiddle Players

Two particularly useful modes for fiddle players in a folk context are the Dorian mode and the Mixolydian mode.

D Dorian Mode

  • The raised sixth in the D Dorian mode gives it an archaic feel which can evoke images of green fields, lakes, and castles.
  • This magical quality justifies the effort required to understand modes.

G Mixolydian Mode

  • If we play a G major scale, the Mixolydian mode features a flattened seventh.
  • This flattened seventh is significant because it's the note that bagpipes play, which creates a broad and folky sound that can transcend geographical boundaries.
  • Transforming it into a pentatonic scale can evoke sounds that are not only Scottish but can also sound Indian.

Practical Application

Let's do it in D. By adding a few slides, you can create an effect as if you have spent 15 years in India, studying Indian classical music. Your friends will believe you when you casually mention that you were with a guru on a mountaintop!

Inspirational Music Example

A famous rock song called "Baba O'Riley" by The Who features a memorable violin solo by Dave Arbus, an English fiddle player. This song showcases the Indian-sounding Mixolydian mode and is well worth a listen.

Song Title Origins

The title of the song "Baba O'Riley" comes from Barbara Meyer, an Indian mystic, and Terry Riley, a minimalist American composer.

In homage, I composed a tune titled "Mahatma Wonder", inspired by the Indian mystic Mahatma Gandhi and the American writer Stevie Wonder.

Your Assignment

  1. Work out the E Dorian mode, which contains the same intervals as the D Dorian but starts on E.

    • Try to create some musical phrases with it.
  2. Explore the A Mixolydian mode. Refer back to the G Mixolydian to understand the structure, and create sequences that maintain the same intervals.

  3. Finally, practice the B Locrian mode, familiarizing yourself with the finger positions and experimenting with writing a melody.

Final Note

Check out John Kirkpatrick, an accordion player who famously wrote a Locrian mode tune just for fun. If you need inspiration, his work is definitely worth exploring!

About the instructor

Chris Haigh
Chris Haigh

Chris Haigh es violinista profesional desde hace 25 años, con experiencia en muchos géneros distintos. Ha tocado en más de 75 álbumes, trabajando con artistas como Alison Moyet, Bob Geldof, All About Eve, Michael Ball, David Soul, Oumou Sangare, The Quireboys, Riverdance, Morcheeba, James Galway y Steps. Ha tocado swing y jazz con The Kimbara Brothers, Diz Disley, Le Jazz, The Hot Club of London y los Quecumbar Allstars, y lidera una banda de swing soviético de siete integrantes, The Kremlinaires. Chris imparte clases y talleres sobre técnica de violín de jazz y ha enseñado violín de jazz en las universidades de Middlesex, Brunel y Newcastle y en el Truro College. Entre sus créditos como autor figuran nueve libros de violín, entre ellos The Fiddle Handbook. También dirige Fiddling Around (fiddlingaround.co.uk), probablemente la fuente de información sobre violín más completa y visitada de la red. read more

What's included?

28 lessons (2h 28m)
Advanced video features
Mobile, tablet & desktop
100% satisfaction guarantee
View course info