The Mixolydian mode, is also known as the 5th mode of the major scale.
Meaning, the scale we end up with when we play any major scale starting from the 5th degree (Sol) and end it on the 5th degree an octave above.
This is of course a pretty straight forward and sensible way of looking at it.
However, in order to explore the 'sound' of any mode, it is crucial to treat each mode as individual scales while keeping the relationship they have between each-other as pre-requisite knowledge.
The Mixolydian scale/mode is constructed using the following set of intervals:
Whole - Whole - Half - Whole - Whole - Half - Whole
Or
Root - Major 2nd - Major 3rd - Perfect 4th - Perfect 5th - Major 6th - Minor 7th
Or
1 - 2 - 3 - 4 - 5 - 6 - b7
We can also look at it as a Major Scale with a b7
As usual, we will divide our study into 4 basic to intermediate topics:
Intervallic Playing
By intervallic playing, we mean playing the scale in either diatonic 3rds, 4ths, 5ths, 6ths, or 7ths.
We will use the standard syllables for Mixolydian in western music (Do Re Mi Fa Sol La Te Do) for reference.
For playing the scale in 3rds, instead of playing Do Re Mi Fa, we play Do Mi Re Fa.
Here's what it looks like:
Do Mi Re Fa Mi Sol Fa La Sol Te La Do Te Re Do
As you can see in the above example, we are ascending the scale, skipping a note and proceeding to play the next one.
We will refer to these notes as 'scale tones'.
Please note, that these are all ascending patterns. I would like you to try and figure out the descending patterns by yourself.
When you try something by yourself, be it in class or not, you learn and remember these ideas better.
Anyway, in case of diatonic 4ths, we follow the same idea but skip 2 scale tones instead.
Let's look at that:
Do Fa Re Sol Mi La Fa Te Sol Do La Re Te Mi Do
In case of 5ths we skip 3 scale tones:
Do Sol Re La Mi Te Fa Do Sol Re La Mi Te Fa Do
In case of 6ths, we skip 4 scale tones:
Do La Re Te Mi Do Fa Re Sol Mi La Fa Te Sol Do
And finally, in case of 7ths, we skip 5 scale tones:
Do Te Re Do Mi Re Fa Mi Sol Fa La Sol Te La Do
As you can hear, they all create a different set of sounds and possibilities.
For further study, try mixing these different intervallic ideas to create a musical idea/piece of sort.
The best way to internalise something is to create something with it.
Diatonic Triads
The next thing to look into is diatonic triads.
In simple words, you build a triad starting from each degree of the scale by skipping 1 scale tone.
When we apply this idea on any Mixolydian scale, we get the following set of diatonic triads:
I Major - ii minor - iii diminished - IV Major - v minor - vi minor - bVII Major
Please make sure to also play these chord tones as single note lines, which we refer to as arpeggios.
Diatonic 7th Chords
Building on the triads, when we add another 3rd to them, we get a stack of 4 notes. We call them 7th chords.
When we apply this idea on any Mixolydian scale, we get the following set of diatonic triads:
I Dominant 7th - ii minor 7th - iii minor 7th b5 - IV Major 7th - v minor 7th - vi minor 7th - bVII Major 7th
Again, please make sure to also play these chord tones as single note lines, which we refer to as arpeggios.
Some Chord Progressions
For internalising any scale, it is crucial to know some chord progressions or harmonic movements based on the scale.
This helps in ear training and absorbing the 'sound' of the scale.
We will use Roman numerals for identifying the degrees.
Be sure to apply the triads, 7th chords and arpeggios to them for exploration.
Let's look at such progressions based out of the Mixolydian scale:
Vamp on the I chord
I - bVII
iii - ii - I
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Here are some of the things I talk about in class:
Music fundamentals and theory
Ear-training
Composition
Improvisation
The guitar as a solo instrument
Musical, compositional, and improvisational philosophies
Artistry
Expression
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