Formula
- Degrees: 1 2 3 4 5 6 b7.
- Steps: W W H W W H W (2 2 1 2 2 1 2 semitones).
- Parent scale: 5th mode of the major scale. G Mixolydian = notes of C major from G: G A B C D E F.
- On C: C D E F G A Bb. On D: D E F# G A B C. On A: A B C# D E F# G.
Trick: Mixolydian is the major scale with a lowered 7th; it is also the “natural” scale of a dominant seventh chord.
Characteristic note and color
The minor 7th (b7) is the signature: it removes the leading tone and therefore the pull toward the tonic. The result is an earthy, relaxed, “street” major: rock, blues, funk, Celtic folk, bluegrass, bagpipe music, much British pop of the 1960s.
Diatonic chords (C Mixolydian)
| Degree | Triad | Seventh |
|---|---|---|
| I | C | C7 |
| ii | Dm | Dm7 |
| iii° | E° | Eø7 |
| IV | F | Fmaj7 |
| v | Gm | Gm7 |
| vi | Am | Am7 |
| bVII | Bb | Bbmaj7 |
The signature chords are the major bVII (Bb in C) and the minor v (Gm). Typical progressions: I – bVII – IV – I (C – Bb – F – C, the “Mixolydian cadence” or “double plagal”), I – bVII (vamp), I – v – IV, a static I7 (funk). The tonic chord is often I7, I9, I13 or a simple power chord.
Mixolydian and the blues
In the blues every chord (I7, IV7, V7) is a dominant: the Mixolydian scales of the three degrees, mixed with the minor blues scale, are the basic vocabulary. But the form of the blues remains tonal (V7 – I); “pure” Mixolydian avoids the V7 cadence with the leading tone.
Use in genres
- Classic rock: “Sweet Home Alabama” (Lynyrd Skynyrd), D – C – G: I – bVII – IV in D Mixolydian. “Gloria” (Them), E – D – A.
- Beatles: “Norwegian Wood” (E Mixolydian, the sitar riff with the D natural), the coda of “Hey Jude” (F – Eb – Bb – F, with the bVII), “Paperback Writer” (G Mixolydian over G7).
- Pop: “Royals” (Lorde), D – C – G (I – bVII – IV).
- Funk: vamp on a dominant chord (E9, D7) with a bass that uses 1, 5, b7.
- Celtic and bluegrass: many bagpipe melodies (the Scottish bagpipe has a flat 7th close to the b7) and reels in A and D Mixolydian.
- EDM and house: the I – bVII alternation on “anthemic” choruses gives a major that is less sugary than Ionian.
Melodies and basses
- Mixolydian melodies often use b7 – 1 from below (G – A in A Mixolydian) instead of the leading tone, and 5 – b7 – 8 ascending.
- The rock bass alternates I and bVII by step (D – C – D) or does bVII – IV – I.
- The b7 in the melody over a major I is the most immediate “blues-rock” sound.
Common mistakes
- Inserting a major V (G or G7, with the B natural) in C Mixolydian: the mode has Gm; with the leading tone the piece goes back to Ionian.
- Confusing Mixolydian and blues: the blues scale contains the b3 and the b5; Mixolydian has the major 3rd and the perfect 5th.
- Never letting the b7 be heard: without a bVII or a b7 in the melody, the mode is indistinguishable from Ionian.
Exercise
- Loop D – C – G – D at 100 BPM with acoustic guitar (or Piano V): improvise with D Mixolydian, insisting on the C natural.
- Change the chorus of one of your major-key tracks by replacing V with bVII: listen to the change of character.
- Program a funk vamp on E9 with bass E – E – D – B – D and a melody that uses the D natural.
Connections
Modes of the major scale; Ionian mode; Mixolydian b6; The blues: 12-bar form; Modal interchange; Bebop scales.