What Chords Are in Mixolydian Mode?

Mixolydian mode is a fascinating musical concept that plays a crucial role in understanding the structure of chords within different modes. Contrary to some beliefs, the chords in Mixolydian mode are not all major chords. In fact, they closely resemble the chords from the Ionian mode (also known as the Major scale), but with a specific adjustment. Let's explore these chords in greater detail.

The Chords of G Mixolydian Mode

To illustrate the chords in Mixolydian mode, let's look at G Mixolydian. In ascending order, the chords are:

I - G Major (G-Major) ii - A Minor (A-Minor) iii° - B Diminished (B-Diminished) IV - C Major (C-Major) v - D Minor (D-Minor) vi - E Minor (E-Minor) VII - F Major (F-Major)

As you can see, the I chord (G major) is a major chord, the ii chord (A minor) is a minor chord, the iii° chord (B diminished) is a diminished chord, and so on. This pattern is consistent with the standard chord qualities found in the Ionian mode (C Major).

How Mixolydian Mode Differs from the Ionian Mode

The key difference between the Major scale (Ionian mode) and the Mixolydian mode lies in the seventh degree of the scale. In Mixolydian mode, the seventh degree is flattened. For example, in the C Mixolydian scale, the seventh degree is B flat (Bb).

Constructing Four-Note Chords in Mixolydian Mode

Begin by constructing four-note chords from each degree of the Mixolydian scale using tertiary harmony. For instance, the first degree of the C Mixolydian scale produces a Dominant 7th chord (C-E-G-Bb), which differs from the Major 7th chord (CMaj7) formed by the first degree of the C Ionian mode/ Major scale (C-E-G-B).

To further demonstrate this, consider the progression provided in Christian Praise and Worship: D Major - A Minor - C Major - G Major. The last chord, G Major, is the actual tonal center, even though the piece sounds like it might be in D Major. This is confirmed by the progression itself, where the A chord (the second degree of the G scale) is minor, as would be expected in the Mixolydian mode.

Conclusion and Further Exploration

Exploring the chords in Mixolydian mode reveals a rich and complex harmonic structure that complements the tonal centers of the music. By understanding the specific chord qualities and the role of the flattened seventh degree, musicians and composers can create more nuanced and expressive pieces.