Mixolydian Mode

Now I’ll introduce the Mixolydian Mode, which is commonly used in popular music.

Within the only-white-key situation, starting with G results in the mixolydian scale.

1. Structure of Mixolydian Mode

Firstly, let’s identify the “character note” of a mixolydian mode by comparing it with similar scales—In this case G Major Scale.

Upon comparison, we notice the difference in the seventh note. The Mixolydian mode is created by lowering ti in a major scale by a half-step. And therefore this ti♭ is considered the character note of a mixolydian scale.

What kind of musical atmosphere do you think this change will create? Take a guess based on the knowledge we’ve covered so far.

2. Characteristics of Mixolydian Mode

Recalling the kernel theory from Chapter I, ti is referred to as the “leading tone”. It creates a smooth resolution to the tonic, bringing a sense of conclusion to the melody. In minor scales, the leading tone was even artificially by raising so to so♯.

The Mixolydian mode is a scale that abandons this valuable half-step relationship. With the shift from half-step to whole-step, it becomes a suitable scale for imparting a sense of wildness or strength. Or it can evoke a merry or cheerful feeling. Now, let’s examine examples.

Pop Style Application

Here is a typical example showcasing the “merriness” of the Mixolydian mode. You can hear the unusual brightness that is not achievable with a regular major scale.

Let’s listen to the same piece in a major scale.

It feels a bit too classical, doesn’t it? Too basic and not very interesting. Conversely, the Mixolydian version possess enough charm to captivate the listener even with this much simple form.

Examples

This “merriness” is frequently utilized in bright pop songs and game music.

In each case, they create a very cheerful mood not present in the Classical era, thanks to the power of the Mixolydian mode.

Utilization in Rock Style

While the previous examples demonstrated a pop-style application, the Mixolydian mode’s characteristic of the “strength of the whole-tone relationship between ti♭-do” pairs perfectly with bold rock music.

It is often utilized with guitar riffs like this one. The whole-step relationship with the tonal center creates a bold, powerful, and vigorous atmosphere. As a comparative experiment, let’s listen to the version returned to the normal major scale.

Suddenly, it becomes subdued and takes on a pop-like feeling. The sound doesn’t quite match. Listening to the comparison, you can clearly discern the unique sound of the Mixolydian mode.

Examples

Indeed, you can feel a level of “boldness” that cannot be achieved with the normal major scale. Especially in rock, the motion from ti♭ to do, handled by the bass, emphasizes strength from the bottom, while the melody contributes to a bright major atmosphere with notes do, mi and so.

3. Applications of Mixolydian Mode

Now, similar to the previous discussion, let’s delve into the knowledge needed to appropriately use the Mixolydian mode in a composition. To make things clearer, let’s shift the tonic to the note C and reexamine the arrangement of Mixolydian.

It involves “lowering the seventh note by a half-step.” So, it looks like this. Checking in the musical notation, it appears like this.

Remember that with one flat, it shares similarity with a particular key. Can’t recall which one? If not, check the “Circle of Fifths.”

It’s F major key! This means you need to be mindful of chord progressions to avoid the song sounding like it’s in F major key. However, in practice, the risk of disrupting tonality is not very high unless you excessively emphasize the F chord. Mixolydian is easier than Dorian in this regard.

Similarity to the Minor Scale

When using the Mixolydian mode, it’s essential to be aware of its affinity with the minor scale.

By comparing them, it’s evident that the flattened seventh note, ti♭, partly plays a role in defining the minor scale quality. Let’s put together the rock audio example again, but this time, I added another example with the minor scale.

From top to bottom: major, Mixolydian, minor. Indeed, when it comes to the perspectives of “boldness” and “strength”, there are some sort of similarity between minor and Mixolydian. Of course, due to the flattened third and sixth notes (mi and la), the minor scale can feel much more dark. To go further, if you don’t play the notes mi and la at all, Mixolydian and minor would become indistinguishable.

Here is an actual example of trying that out. It’s not as dark as minor and certainly not as merry as Mixolydian, it just has a feeling of boldness. It has a strong rock essence, and that’s perfectly fine. Well, with that understanding in mind, let’s proceed to specific compositional techniques.

Consideration in Chords

Similar to the Dorian mode, the crucial thing is to use a lot of I chords. This helps firmly establish the position of the chordal tonic. Additionally, at this point, it’s important to play the note mi distinctly to convey the message that it is not the minor scale. This is crucial for bringing out the Mixolydian flavor.

Of course, if you want to achieve a rock feel similar to the example you listened to earlier, it’s perfectly fine not to play mi deliberately and go between major and minor.