The Mixolydian mode
G Mixolydian: G A B C D E F (1 2 3 4 5 6 b7). It is a major scale with a minor seventh: the characteristic note is the b7 (F in G). The leading tone (F#) is missing, so there is no major V7: the dominant is minor (Dm).
Chords in G Mixolydian
| Chord | Degree | Role |
|---|---|---|
| G | I | tonic (often G7 or G with a b7 in the melody) |
| Am | ii | |
| B° | iii° | rare |
| C | IV | subdominant, very important |
| Dm | v | minor “dominant,” weak |
| Em | vi | |
| F | bVII | characteristic chord |
The typical progressions revolve around I – bVII – IV – I and I – bVII – I.
Mixolydian rock progressions (in D, the most “guitar-friendly” key)
| Progression | Chords | Notes |
|---|---|---|
| I – bVII – IV – I | D – C – G – D | the Mixolydian loop par excellence |
| I – bVII – I | D – C – D | open riff |
| bVII – IV – I (double plagal) | C – G – D | two descending fifths toward the tonic |
| I – v – IV | D – Am – G | “folk-rock” color |
| I – IV – bVII – IV | D – G – C – G | “Gloria” style |
Real examples
- Guns N’ Roses, Sweet Child O’ Mine (1987): the verse goes around D – C – G – D (with the band tuned a half step down, so it sounds in Db).
- The Rolling Stones, Sympathy for the Devil (1968): E – D – A – E.
- Them, Gloria (1964): E – D – A.
- The Beatles, Hey Jude (1968): in the long coda in F, F – Eb – Bb – F (I – bVII – IV – I): the double plagal.
- The Beatles, Norwegian Wood (1965): melody in E Mixolydian (with D natural).
- Lynyrd Skynyrd, Sweet Home Alabama (1974): D – C – G: analysts debate whether it is D Mixolydian (I – bVII – IV) or G major (V – IV – I); the melody and the bass tip the balance toward D, but the ambiguity is part of the charm.
Why rock loves Mixolydian
- Guitars easily play open major chords a whole step apart (D – C, E – D, A – G).
- The blues uses the b7 over major chords: Mixolydian is its diatonic “relative.”
- The lack of a leading tone gives a direct, earthy, unsentimental sound.
Melodic writing
- Make the b7 heard over the I (F over G, C over D): it is the mode’s signature.
- The major 3rd (B over G) distinguishes Mixolydian from Dorian.
- Major pentatonic + b7 riffs (G A B D E F) work well.
Common mistakes
- Using a major V7 (D7 in G Mixolydian): it introduces F# and leads into G major.
- Confusing Mixolydian with the key of the IV: if the piece often stops on C, the ear may hear C major as the tonic (bVII becomes I, the I becomes V). Reinforce the tonic with the bass, riffs, and the start/end of phrases.
Producer exercise
- Crunch electric guitar (or Arturia Mini V with a “power” sound), 120 BPM.
- Riff on D – C – G – D, one chord per bar, accents on the eighth notes.
- Bass playing the roots with a C – B – A passing line toward G.
- Vocal melody that rests on the C (b7) over the D chord at least once per phrase.
Related topics
The modes of the major scale, plagal cadence and minor plagal, modal harmony and modal loops, the blues, harmony in metal.