How to Write a Mixolydian Rock Song
Let’s talk about the Mixolydian mode and how to use it to write a song that has its unique sound.
Like all modes it has a certain level of brightness or darkness compared to other scales. This is one of the brighter sounding modes, although not as happy sounding as a regular Major scale. I would put this right below the major scale in terms of brightness, so a little bit less bright.
You can find this mode a lot in genre’s like Blues, Jazz, and Rock (especially Classic Rock).
Words that might come to mind from this mode could be “Bluesy” and “Cathartic in a positive, happy way”. To me Mixolydian sounds a lot like many classic rock bands (like party or happy rock I guess?) but can also sound like a cathartic gospel-sounding song where it feels positive and happy but with a slight melancholy to it. Like you’re really happy because you just got over something sad, so the trail of sadness is there but with a “happy to be letting go” or a “finally free” sort of feeling.
To write a song in Mixolydian mode, songwriters will establish a Major key and stress the ♭7 interval in their melodies and chord progressions (often using the Minor v chord or the Major ♭VII chord). This is the interval that gives Mixolydian its unique sound.
The Sound & Moods of the Mixolydian Mode
So as I said, it’s a happy sound/mood with a tinge of melancholy to it, but it is still mostly happy.
What makes the Mixolydian mode sound happy with a tinge of melancholy is the fact that it is a Major scale with a ♭7 interval (♭VII chord). The ♭7 interval comes from the Minor scale, so while it is a Major scale due to the Major 3rd interval, it does have that tinge of melancholy from the ♭7 that comes from the Minor scale.
What is the Mixolydian Mode?
So let’s get a refresher on modes and where Mixolydian fits in them.
The Mixolydian mode is a scale derived from the Major scale, which comes from the 5th scale degree. Every note (also called scale degree) in a major scale has a mode assigned to it, so there are 7 modes just like there are 7 notes in a Major scale. The name assigned to the first note in a Major scale is called Ionian, second is called Dorian and so on. Look below for a list of the modes attached to each scale degree. Mixolydian is the 5th scale degree.
- Ionian
- Dorian
- Phrygian
- Lydian
- Mixolydian
- Aeolian
- Locrian
If we look at the Major scale we can see that it has a formula created by a series of whole steps and half steps between notes. Let’s use C Major as an example:
1, 2, 3, 4, 5, 6, 7
C, D, E, F, G, A, B, C
W – W – H – W – W – W – H
Formula for the Mixolydian Mode
If we play the Major scale but start on the 5th degree (or G note) then what we are playing is G Mixolydian. The relative Mixolydian of C Major.
Relative Mixolydian of C
1, 2, 3, 4, 5, 6, 7
G, A, B, C, D, E, F, G
W – W – H – W – W – H – W
This pattern of whole steps and half steps are what create Mixolydian.
But what if you wanted to play C Mixolydian instead of G Mixolydian?
Simple, for that just start the pattern of whole steps and half steps on C instead of G and you’ll be playing G Mixolydian.
You might’ve noticed something. There is a difference between Relative and Parallel Mixolydian.
- G Mixolydian is the Relative Mixolydian of C Major. This is the Mixolydian mode within the key of C Major.
- C Mixolydian is the Parallel Mixolydian of C Major. This is the Mixolydian mode start on C.
C Major:
1, 2, 3, 4, 5, 6, 7
C, D, E, F, G, A, B, C
W – W – H – W – W – W – H
C Mixolydian
1, 2, 3, 4, 5, 6, ♭7
C, D, E, F, G, A, B♭, C
W – W – H – W – W – H – W
If you look at these two scales, C Major and C Mixolydian, you will notice there is one note that is different. The 7th note (the B) is flattened to a B♭.
Parallel vs Relative Mixolydian
So let’s emphasize this difference to make sure it is clear. We say a mode is Parallel because if you put the C Major scale and the C Mixolydian scale side by side (meaning parallel to each other) you will notice they sound different. C Mixolydian has that ♭7 that comes from the Minor scale.
So even though the pattern for Mixolydian comes from the Major scale, it’s helpful to think of it as its own scale.
Now when you play the C Major scale but start it on the fifth note (the G note), you are playing the Mixolydian pattern but within the context of the C Major key, not C Mixolydian. This is the Relative Mixolydian because it is the Mixolydian pattern as relative to the C Major key.
This might take a bit to wrap your mind around but it’s much simpler than at first glance. If you want to read more about the difference between Parallel and Relative Modes check out this article for more info Defining Parallel VS. Relative Modes.
How to Write Mixolydian Melodies
Mixolydian is a great mode to create melodies with and is used very very often to spice up improvisation especially in Blues, Jazz and Rock.
To create melodies in Mixolydian you have to highlight the notes that make it different from other modes and scales. In this case it is the Major 3rd and flat 7th notes. The Major 3rd establishes the Major sound and the flat 7th makes it sound different from the Major scale which usually has a natural 7th.
Let’s compare the Major, Minor and Mixolydian starting on the C note.
C Major:
1, 2, 3, 4, 5, 6, 7
C, D, E, F, G, A, B
C Minor:
1, 2, ♭3, 4, 5, ♭6, ♭7
C, D, E♭, F, G, A♭, B♭
C Mixolydian
1, 2, 3, 4, 5, 6, ♭7
C, D, E, F, G, A, B♭, C
When you compare the notes of the three scales above, the E note gives Mixolydian a Major sound and the B♭ gives it a unique Mixolydian sound.
Due to the fact that Mixolydian is a Major mode, you can use it over Major chords and it will give it a spicier sound than a regular Major scale. It’s often paired up with the Major Pentatonic as well for a colorful Major bluesy sound. To play Mixolydian over an entire chord progression make sure the chords are all taken from the Mixolydian key.
How to Write Mixolydian Chord Progressions
So what if you want a Mixolydian sound but you don’t have a melody over it or you just want to make a progression that sets up a Mixolydian ambience?
To write chord progressions in Phrygian all the chords need to be from the Mixolydian key, and the Minor v chord and the Major ♭VII chord are especially important to include because they strongly highlight the Mixolydian sound, although in different ways. The Minor v chord sounds more melancholic.
The best place to start is by using a Major chord progression since Mixolydian is a Major mode.
TIP: Borrow chords from modes of the same scale quality. Major modes for Major keys and Minor modes for Minor keys.
Here is a C Major chord progression:
C Major Chord Progression
I – V – vi – IV
Cmaj, Gmaj, Amin, Fmaj
Ok now let’s compare the chords of C Major and C Mixolydian to see our options.
C Major
I – ii – iii – IV – V – vi – viio
Cmaj, Dmin, Emin, Fmaj, Gmaj, Amin, Bdim
C Mixolydian
I – ii – iiio – IV – v – vi – ♭VII
Cmaj, Dmin, Edim, Fmaj, Gmin, Amin, B♭maj
As you can see there are some important differences in C Mixolydian from C Major.
- Emin is an Edim in Mixolydian
- Gmaj is a Gmin in Mixolydian
- Bdim is a B♭maj in Mixolydian
Now, if we use all of these chords that are different from Major in our progression, it would help to highlight the ♭7 note of Mixolydian because all 3 of these chords have a B♭ note.
However, in many songs it’s not common to see diminished chords because of how dissonant they sound. So we could eliminate the Edim (iiio) as an option.
The Gmin (v) chord is a good option because in a major key that chord is usually a Major chord. Also, the third of Gmin is a B♭ note, which has a dramatic impact in defining the Gmin chord, so it will definitely help to highlight the Mixolydian sound. Especially the moody, melancholic part of Mixolydian.
Lastly, the B♭maj (♭VII) is another good option because it highlights the note that makes it different from the Major scale by using it as the root, which dramatically defines the chord. So this is another good option.
So to choose the best chord for our progression example, you could go with either the Gmin or the B♭maj chords. Personally, which one to choose would come down to personal preference and the type of song you’re doing.
If you’re doing a rock song where you’re only playing powerchords then you won’t be playing the 3rd of Gmin because powerchords don’t have a 3rd, so you won’t get any difference in sound from a regular major key sound (unless you play the B♭ note on a keyboard pad or melody over it).
But if you play the B♭maj as a powerchord then you WILL be highlighting the note that makes Mixolydian different from Major. So it works.
If you’re doing an acoustic song for example, then you can play the Gmin chord and it will definitely sound Mixolydian even without a melody or backing instrument because of the Minor 3rd (the B♭ note within the Gmin chord).
TIP: If you have a major chord progression and want to add a Mixolydian sound, use a Minor v chord instead of the expected Major V. Another option is to add a Major ♭VII chord in your progression.
So to give it a Mixolydian sound, our progression could change from this:
C Major Chord Progression
I – V – vi – IV
Cmaj, Gmaj, Amin, Fmaj
To this:
C Mixolydian Chord Progression
I – v – vi – IV
Cmaj, Gmin, Amin, Fmaj
And personally I would go the route of changing the Major V to a Minor v because I enjoy that sound more but like I said, it depends on the song, and depends on your taste.
Songs with Mixolydian Mode and their Sound
Ok so we’ve been through the theory but let see the most important part now, the sound. What does Mixolydian feel and sound like? Let’s listen to some songs that use it heavily.
Some words that may come to mind are “bluesy” and “cathartic in a positive feelgood way”.
Linger by the Cranberries
One of the first bands that make me think of the Mixolydian sound are the Cranberries. Their song Linger is a good example of the happy but melancholic sound of this mode. The Verse in this song uses the ♭VII that is so characteristic to Mixolydian.
[Verse 1] – Key: D Mixolydian
I
D
If you, if you could return
V
A6
Don’t let it burn, don’t let it fade
♭VII
Cadd9
I’m sure I’m not being rude
But it’s just your attitude
IV
G
It’s tearing me apart
It’s ruining everything
I
D
And I swore, I swore I would be true
V
A6
And honey so did you
♭VII
Cadd9
So why were you holding her hand
Is that the way we stand
IV
G
Were you lying all the time
Was it just a game to you
Clocks by Coldplay
This song is also very Mixolydian and has that sort of mellow “melancholic but not that much” feeling to it.
The reason is because they are using the Minor v (B♭m) chord from the Mixolydian mode.
[Verse 1] – Key: E♭ Mixolydian
I v
E♭ B♭m
The lights go out and I can’t be saved
v ii
B♭m Fm
Tides that I tried to swim against
I v
E♭ B♭m
Have brought me down upon my knees
v ii
B♭m Fm
Oh, I beg, I beg and plead singin’
I v
E♭ B♭m
Come out of things un said
v ii
B♭m Fm
Shoot an apple off my head
I v
E♭ B♭m
And a trouble that can’t be named
v ii
B♭m Fm
A tiger’s waiting to be tamed, singin’
Thunderstruck by AC/DC
So I wanted to include a classic rock example because Mixolydian is THE classic rock scale lol. It gives off this sort of party rock type of vibe which is why it’s so common in this subgenre of rock. It’s almost like if you’re going to make a rock song in a Major key you HAVE to use Mixolydian haha.
An example of a very popular song is Thunderstruck by AC/DC. Below you will see that they are using powerchords and the progression they are using is I, ♭VII, IV (or in this case B5, A5, and E5), which is a common Mixolydian chord progression.
So this is a perfect example of what I said earlier where, if you’re using powerchords, you’ll get a more Mixolydian sound if you use the ♭VII in your progression rather than the minor v chord because in a powechord you don’t play the 3rd of the v chord, but a ♭VII chord has the ♭7 interval as the root so no worries if you do it as a powerchord.
[Prechorus 1] – Key: B Mixolydian
B5 A5 E5 A5 E5 B5 A5 E5 A5
Sound of the drums beatin’ in my heart,
E5 B5 A5 E5 A5 E5 B5 A5 E5 A5 E5
The thunder of guns tore me apart.
Wrapping it up
So there you have it. Mixolydian mode. The happy but kinda melancholic mode, the classic rock party rock mode, the darkest Major mode.
Personally I used to not like Mixolydian because it always felt too major for me, but in hearing it in songs like Linger from The Cranberries I heard how it could still have its melancholic charm with that ♭7 interval. Hope it has opened your mind up to at least trying it sometime.
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