Mixolydian mode is a musical mode. In the modern sense, it is the scale on the white piano keys that starts with G. Its ascending sequence consists of a root note, whole step, whole step, half step, whole step, whole step, half step, whole step (to octave).
The term "Mixolydian mode" may refer to one of three things: the name applied to one of the ancient Greek harmoniai or tonoi, based on a particular octave species or scale; one of the medieval church modes; a modern musical mode or diatonic scale, related to the medieval mode. (The Hypomixolydian mode of medieval music, by contrast, has no modern counterpart.)
The idea of a Mixolydian mode comes from the music theory of ancient Greece. The invention of the ancient Greek Mixolydian mode was attributed to Sappho, the 7th-century-B.C. poet and musician. However, what the ancient Greeks thought of as Mixolydian was very different from the modern interpretation of the mode.
In Greek theory, the Mixolydian tonos (the term "mode" is a later Latin term) employs a scale (or "octave species") corresponding to the Greek Hypolydian mode inverted. In its diatonic genus, this is a scale descending from paramese to hypate hypaton. In the diatonic genus, a whole tone (paramese to mese) followed by two conjunct inverted Lydian tetrachords (each being two whole tones followed by a semitone descending). This diatonic genus of the scale is roughly the equivalent of playing all the white notes of a piano from B to B, which is also known as modern Locrian mode.
Medieval Mixolydian and Hypomixolydian
The term Mixolydian was originally used to designate one of the traditional harmoniai of Greek theory. It was appropriated later (along with six other names) by 2nd-century theorist Ptolemy to designate his seven tonoi or transposition keys. Four centuries later, Boethius interpreted Ptolemy in Latin, still with the meaning of transposition keys, not scales.
When chant theory was first being formulated in the 9th century, these seven names plus an eighth, Hypermixolydian (later changed to Hypomixolydian), were again re-appropriated in the anonymous treatise Alia Musica. A commentary on that treatise, called the Nova expositio, first gave it a new sense as one of a set of eight diatonic species of the octave, or scales. The name Mixolydian came to be applied to one of the eight modes of medieval church music: the seventh mode. This mode does not run from B to B on white notes, as the Greek mode, but was defined in two ways: as the diatonic octave species from G up one octave to the G above, or as a mode whose final was G and whose ambitus runs from the F below the final to the G above, with possible extensions "by licence" up to A above and even down to E below, and in which the note D (the tenor of the corresponding seventh psalm tone) had an important melodic function. This medieval theoretical construction led to the modern use of the term for the natural scale from G to G.
The seventh mode of western church music is an authentic mode based on and encompassing the natural scale from G to G, with the perfect fifth (the D in a G to G scale) as the dominant, reciting note or tenor.
The plagal eighth mode was termed Hypomixolydian (or "lower Mixolydian") and, like the Mixolydian, was defined in two ways: as the diatonic octave species from D to the D an octave higher, divided at the mode final, G (thus D–E–F–G + G–A–B–C–D); or as a mode with a final of G and an ambitus from C below the final to E above it, in which the note C (the tenor of the corresponding eighth psalm tone) had an important melodic function.
The modern Mixolydian scale is the fifth mode of the major scale (Ionian mode). That is, it can be constructed by starting on the fifth scale degree (the dominant) of the major scale. Because of this, the Mixolydian mode is sometimes called the dominant scale.
This scale has the same series of tones and semitones as the major scale, but with a minor seventh. As a result, the seventh scale degree is a subtonic, rather than a leading-tone. The flattened seventh of the scale is a tritone away from the mediant (major-third degree) of the key. The order of whole tones and semitones in a Mixolydian scale is
- whole, whole, half, whole, whole, half, whole
Notable music in Mixolydian mode
- "Old Joe Clark"
- "Paddy's Green Shamrock Shore" – A traditional Irish folk song. 
- "She Moved Through the Fair" – A traditional Irish folk song.
- "Fughetta super: Dies sind die heilgen zehn Gebot" in G Major from Clavier-Übung III, BWV 679 by Johann Sebastian Bach
- Piano Concerto in A minor, third movement, by Edvard Grieg
- "Clocks" by Coldplay
- "Dark Star" by the Grateful Dead, modal in A Mixolydian
- "Express Yourself" by Madonna
- "Gloria" by Them
- "Green Light" by Lorde
- "Hey Jude" by the Beatles ("outro" section only)
- "I Think We're Alone Now" by The Shondells
- "Lay Lady Lay" by Bob Dylan
- "Let It Loose" by The Rolling Stones
- "Marquee Moon" by Television
- "Morning Mr. Magpie" by Radiohead
- "Norwegian Wood" by The Beatles (with some verses in Dorian mode)
- "Ramblin' Man" by The Allman Brothers Band (with blues flavoring)
- "Royals" by Lorde
- Theme From Star Trek
- "Sweet Child o' Mine" (solo is in E♭ natural minor with a few bars of harmonic minor) by Guns N' Roses
- "This Is a Low" by Blur
- "You and I" by Lady Gaga
- "All Blues" by Miles Davis
- Harikambhoji, the equivalent scale in Carnatic music.
- Khamaj, the equivalent scale in Hindustani music.
- V-IV-I turnaround, a common modal chord progression when spelled as I – ♭VII – IV
- Backdoor cadence
- Anne Carson (ed.), If Not, Winter: Fragments of Sappho (New York: Vintage Books, 2002), p. ix. ISBN 978-0-375-72451-0. Carson cites Pseudo-Plutarch, On Music 16.113c, who in turn names Aristoxenus as his authority.
- Thomas J. Mathiesen, "Greece", The New Grove Dictionary of Music and Musicians, second edition, 29 vols., edited by Stanley Sadie and John Tyrrell, 10:[page needed] (London: Macmillan Publishers, 2001), 10:339. ISBN 1-56159-239-0 OCLC 44391762.
- Harold S. Powers, "Dorian", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrell (London: Macmillan Publishers, 2001).
- Harold S. Powers and Frans Wiering, "Mixolydian", The New Grove Dictionary of Music and Musicians, second edition, 29 vols., edited by Stanley Sadie and John Tyrell, 16:766–67 (London: Macmillan Publishers, 2001), 767. ISBN 978-1-56159-239-5.
- Harold S. Powers and Frans Wiering, "Hypomixolydian", The New Grove Dictionary of Music and Musicians, second edition, 29 vols., edited by Stanley Sadie and John Tyrell, 12:38 (London: Macmillan Publishers, 2001) ISBN 978-1-56159-239-5.
- Dan Haerle, Scales for Jazz Improvisation (Hialeah: Columbia Pictures Publications; Lebanon, Indiana: Studio P/R; Miami: Warner Bros, 1983), p. 15. ISBN 978-0-89898-705-8.
- Arnie Berle, "The Mixolydian Mode/Dominant Seventh Scale", in Mel Bay's Encyclopedia of Scales, Modes and Melodic Patterns: A Unique Approach to Developing Ear, Mind and Finger Coordination (Pacific, Missouri: Mel Bay Publications, 1997): p. 33. ISBN 978-0-7866-1791-3 OCLC 48534968
- Dick Weissman and Dan Fox, A Guide to Non-Jazz Improvisation: Guitar Edition (Pacific, Missouri: Mel Bay Publications, 2009): p. 130. ISBN 978-0-7866-0751-8.
- Wendy Anthony, "Building a Traditional Tune Repertoire: Old Joe Clark (Key of A-Mixolydian) Archived 3 March 2016 at the Wayback Machine", Mandolin Sessions webzine (February 2007) |(Accessed 2 February 2010).
- Ted Eschliman, "Something Old. Something New Archived 4 March 2016 at the Wayback Machine", Mandolin Sessions webzine (November 2009) (Accessed 2 February 2010).
- Patrick Allen. Developing Singing Matters. (Oxford: Heinemann Educational Publishers, 1999). p. 22. ISBN 0-435-81018-9. OCLC 42040205.[dead link]
- Walter Piston. Harmony (New York: W. W. Norton & Company, Inc., 1941): pp. 29–30.
- "Mixolydian scale and "Clocks" by Coldplay — HCC Learning Web". learning.hccs.edu. Retrieved 27 April 2017.
- "Grateful Dead master class with Dave Frank". Retrieved 29 April 2012.[time needed]
- Albin Zak III. The Velvet Underground Companion: Four Decades of Commentary. (New York: Schirmer Books; London: Prentice Hall International, 2010). p. 333. ISBN 9780825672422.
- "Here's the Music Theory Behind Why Lorde's Songwriting Is Objectively Kickass". Noisey. 3 March 2017. Retrieved 3 April 2018.
- Nate Comp (2009). "The Fretlight Guitar Blog". The Moods of the Modes. Fretlight. Archived from the original on 4 September 2011. Retrieved 18 December 2011.
- Toft (2010), p.61.
- Toft, Robert (2010). Hits and Misses, p.58. Bloomsbury. ISBN 9781441116857
- Jack Morer, Rolling Stones: "Exile on Main Street" (Milwaukee: Hal Leonard Corporation, 1995): p. 100. ISBN 0-7935-4094-1 OCLC 49627026
- "Marquee Moon tab", Joe Hartley's generic homepage.
- Rikky Rooksby, Inside Classic Rock Tracks ([full citation needed], 2001): p.86. ISBN 978-0-87930-654-0.
- "King of Off-Beat Samba Limbs". Retrieved 28 February 2013.
- Kenneth Womack and Todd F. Davis, Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four (Albany: State University of New York Press, 2006): p. 45. ISBN 978-0-7914-6715-2 (cloth); ISBN 978-0-7914-6716-9 (pbk).
- Ken Stephenson, What to Listen for in Rock: A Stylistic Analysis (New Haven and London: Yale University Press, 2002), p.39. ISBN 978-0-300-09239-4.
- "Mixolydian Mode in "Royals" by Lorde". Pop Music Theory. Archived from the original on 18 April 2014. Retrieved 27 January 2014.
- Ed Friedlander, "The Ancient Musical Modes: What Were They?" (Accessed 6 October 2011).
- Dan Bennett, "The Mixolydian Mode", in The Total Rock Bassist (Van Nuys and Los Angeles: Alfred Publishing, 2008): p. 90. ISBN 978-0-7390-5269-3 OCLC 230193269
- Blur (1994). Parkilfe Album booklet. p. 16.
- Stefani Germanotta. "Digital Sheet Music – Lady Gaga – You and I". Musicnotes.com, 2011 (Sony/ATV Music Publishing). Cite journal requires
- The Real Book Sixth Edition. Hal Leonard Corporation. p. 18. ISBN 0-634-06038-4.