 Now that we know that Mixolydian scale or the major scale with a flatted 7th, you can think of it either way I've been sitting here sort of struggling with what I should call it because it's it's really both things We can think of it as a Mixolydian scale or but really when I'm playing it I think of it as a major scale with a lowered 7th and that gives us that dominant feel B flat 7 So anyway, whenever you once you know that scale really well It incorporates really nicely into swing tunes and it really incorporates nicely into this blues tune We've been working on because there are such a nice regular number of measures There's eight tones in a in this scale and there's either two or four bars of every single Chord change that just makes it really kind of easy to play So if I were playing the B flat chord, which is four bars long, I would simply play the scale ascending Here we go one two three four five six seven eight That's two measures now. We're gonna go right back down one two three four five six seven eight Now we move to the E flat chord The four chord we're gonna play that for eight beats one two three four five six seven eight Now we go back to the B flat chord and check this out We could go all the way back to that route, but what if we went to the octave? That route and just play a descending scale one two three four five six seven eight That works out real well Then we go to the F chord. That's our five one two three four five six seven eight And now we have two choices we could either go to this route or this route Let's go to this one one two three four and then back to the F one two three four So let me go ahead and put on the chord changes and I'll play through this blues tune two times through With them a real straight mixolydian scale for each chord change Here we go B flat So as you can see there are It's really not difficult to put this mixolydian scale into your walking bass lines The things that continue to be important are number one Always know where the root of the chord is That's first Secondly always as much as you can start a measure With the root of the chord or another way of thinking of it is Focus on the root of the chord. You always want to be establishing root Then once you get that in there you can begin incorporating a little bit of those chromatic transitions as well So you might play that scale and work around that scale a little bit and then begin incorporating Chromatic transitions to the next chord Try it out Know your scale really well know that mixolydian scale and then try to incorporate it into the chord changes of All the different tunes that you're playing. Good luck