Exploring the Mixolydian Mode and Its Relation to Minor Scales

The Mixolydian mode, often discussed in the context of guitar and music theory, poses intriguing questions about the nature of scales and modes. In this article, we delve into the core of this debate: can Mixolydian truly be considered a minor scale? The short answer is no, and this article aims to explore the reasoning behind this conclusion in the context of music theory and its practical applications.

Understanding the Mixolydian Mode

The Mixolydian mode is one of the seven modes of the major scale. It has a distinct characteristic of a flatted seventh degree, often referred to as a b7 interval. Unlike the Ionian (major) mode, where the seventh degree is a major seventh, the Mixolydian mode looks like this: 1, 2, 3, 4, 5, 6, b7. This mode is beloved in rock, blues, and jazz for its unique sound and versatility.

Some might argue that certain alterations can make the Mixolydian mode sound minor. For instance, temporarily increasing the third degree to a major third can create a sound reminiscent of a Aeolian mode, often referred to as a major Dorian. However, this is more about creating a temporary effect rather than altering the fundamental nature of the mode.

It is important to note that choice of instrument does not define a mode. Whether played on a guitar, tuba, pipe organ, or even sung, the Mixolydian mode retains its core identity as a major scale with a flatted seventh.

Defining Major and Minor Scales

To understand whether the Mixolydian mode can be considered a minor scale, we need to revisit the concept of major and minor scales. A minor scale is primarily defined by the flatted third degree in relation to the major scale. For example, a C major scale (C, D, E, F, G, A, B) becomes a C minor scale (C, D, b3, F, G, A, b7).

The Mixolydian mode, however, retains the major third in relation to the tonic. This means that the Mixolydian mode is fundamentally a major scale with a flatted seventh. Its structure is 1, 2, 3, 4, 5, 6, b7, which distinguishes it from a minor scale.

One way to visualize this is through chord construction. If we build chords based on the Mixolydian mode starting from the tonic (C for simplicity), the chords formed are:

C Major (C, E, G) D minor (D, F, A) E minor (E, G, B) F Major (F, A, C) G Major (G, B, D) A minor (A, C, E) B diminished (B, D, F)

As you can see, the mixolydian scale inherently includes a major chord (suspending the flatted seventh) and largely consists of major and minor chords, though it occasionally includes a diminished seventh chord. This characteristic clearly places it within the major family of scales.

Conclusion

In summary, the Mixolydian mode is fundamentally a major scale. While it may evoke minor-like qualities through specific chord progressions or temporary alterations, its inherent structure as 1, 2, 3, 4, 5, 6, b7 defines it as a major mode. Therefore, the Mixolydian mode cannot be considered a minor scale in a strict sense. Its versatility and unique sound make it a valuable addition to any musician's toolkit, especially for creating rich and complex musical structures.

Keywords: mixolydian mode, minor scales, guitar modes