In this lesson we’ll dive into a handful of killer Mixolydian b6 chords — wild, unexpected voicings you won’t see in standard chord books.
Before we explore these unusual Mixolydian b6 chords, it is vital that we understand this modes interval formula. This is the only way to fully understand and truly master any chord, scale or arpeggio. If you want to be able to play any scale, chords, or arpeggios all over the neck, you must visualise the guitar neck using the interval system. Let’s jump right in with the Mixolydian b6 formula.
Contents for This Lesson:
Here are some of the topics you’ll learn about in this lesson. Use the links below to jump to the section of interest within this lesson or start from the top.
Mixolydian b6 Formula:
The name of this mode is the real giveaway. Since this mode is an alteration of Mixolydian, we know straight away that the core sound is dominant 7.
How do we know this? If we take our triad from the root, which in this instance is major, root, 3 ,5 and then add the 7th, in this case the b7, we get a dominant 7th chord.
The fun really begins when we start adding in the b6 and other extensions to our chord voicings. Specifically though, if we include the b6 in our standard dominant chord, this is going to give us what is know as an ‘altered’ dominant sound. This is the one of the places of which ‘altered dominant’ chords are derived.
Remember that the ‘dominant’ sound is not the only type of chord quality you can derive from this scale. We’ve included several other interesting and mysterious sounding chord types that can be pulled from Mixolydian b6 too.
Naming Conventions.
When creating chords there can be a desire to try and ‘name’ the chords based on their core chord type. While there is nothing wrong with this, it’s important to know that it really doesn’t matter what it is called. However knowing how a chord functions is very important here, more on that in a minute. What matters though is your ability to be able to pick and choose intervals on the fly. This enables you to create and play some badass sounding chords using the Mixolydian b6 formula as your basis.
As long as you know and can see your desired root note letter, you can tell other musicians what intervals you’re using. Instead of trying to tell them you’re playing a major 13 sharp 5, you can say this is a ‘1, 2 b6, 7 chord’ or a ‘1, 4, b6, 7’ or ‘a 1, 2, 7 triad’ for example.
How Chords ‘Function’.
The main function for mixolydian is to provide a pull towards some sort of resolution. The main chords from mixolydian b6 will essentially be different types of altered dominant chords. Altered dominant chords pull even harder towards a resolution in a progression. Especially if you ‘borrow’ an altered dominant chord in place of the standard dominant chord in a major or minor key.
Using Mixolydian b6 Chords.
With all the intervals that are possible in this scale, you could also consider just using this scale to build riffs, chords and ideas to create a progression just using Mixolydian b6. Remember you don’t even need to deviate from a scale to be creative or create entire song ideas. Less is quite often more!
Other Types of Mixolydian b6 Chords.
If we omit the b7th, the 3rd or both in our interval selections, we can also derive at different types of altered major and altered suspended chords. You’ll notice in the interval formula for this scale there is also a standard major triad, a R, 3, 5 (major triad) a R, 4, 5 (sus 4) and also a R, 2, 5 (sus2). We can look at adding the b6 to these as well to come up with voicings that are unique and unusual sounding.
Chord ‘Cross-Overs’.
Because we are going to be cherry picking intervals from the Mixolydian b6 formula, there will naturally be chords with the same intervals that could be derived from other scales. In our view, this only expands the possibilities of what you do with these ideas. Our intention for this lesson is that they are viewed as being derived from the Mixolydian b6 mode.
For the examples in this lesson we’re using ‘D’ Mixolydian b6. We’ve picked that arbitrarily so experiment with transposing these chords into different keys. Further to this though, if you really know your intervals all over the guitar neck then take our interval selections and re-voice them and adapt them to your own wicked ends.
We’ve found Mixolydian b6 to be an unlimited source of ideas and inspiration and we hope you do too. Here’s several really cool & unusual chords that you definitely won’t find in conventional chord books.
WARNING: Some of these chords will require unconventional fingerings to pull them off. I’ve found that with a bit of practice they soon become second nature. Don’t dismiss them just because they may be hard for you.
How To Use This Chord:
This b6/9 chord is interesting and mysterious sounding since there is no 7th and no 5th. If used correctly this can function in place of a dominant chord in almost all situations. To really support the dominant sound you could have another guitar or instrument playing the b7, either as single notes or as a part of a chord. Having other instrument play the standard 5th further helps to support and beef up this chord.
Alternatively the b6/9 chord can also take the place of a major chord. This will add some tension through the inclusion of the b6 interval. In this instance don’t treat it as a dominant chord. Instead try changing a standard major chord in a progression for this chord to this to see what tension it adds to your progression.
How To Use This Chord:
This next chord is loosely based around D7, however there is no major 3rd here. Instead the major 3rd been substituted for the major 2nd. This is technically an altered dominant 7 sus 2. This functions very nicely as an altered dominant chord. This chord resolves to itself. Meaning it can resolve to a standard major or minor chord from the same root note. Try resolving this chord to D major or D minor. It’s a killer move.
Alternatively, you could also treat this chord as the 5 in a major or minor key and resolve to the 1 chord. In this example, if you’re treating these chords as the dominant 5 chord then they will resolve perfectly to either G major or G minor. Do experiment.
How To Use This Chord:
Heres’s a really nice alternative voicing of the same chord. Try switching between the two voicings and then resolving either to the major or minor chord from the same root or the major or minor chord from the diatonic key.
These examples give you a solid foundation — the full set of 10 chords and extended applications continue on Patreon.
Full Lesson Resumes on Patreon:
Continue the lesson on Patreon to explore 7 additional chords, with diagrams and ideas for applying them in your playing.
Closing Thoughts
Using Mixolydian b6 as your ‘note pool’ definitely yields some interesting results. Remember that you can cherry pick your intervals from your chosen root note to come up with interesting chord voicings. The important aspect here as always is knowing your intervals solidly all over the guitar neck.
Without this prior knowledge, none of this is possible.
Cheers.
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