Mixolydian mode#Medieval Mixolydian and Hypomixolydian

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 {{nowrap|7th-century-B.C.}} poet and musician.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 (1136c Steph.), who in turn names Aristoxenus as his authority. However, what the ancient Greeks thought of as Mixolydian is very different from the modern interpretation of the mode. The prefix mixo- ({{math|μιξο}}-) means "mixed", referring to its resemblance to the Lydian 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.

{{Block indent| {

\key e \locrian

\override Score.TimeSignature #'stencil = ##f

\relative c' {

\clef treble \time 7/4

e4^\markup { Greek Mixolydian tonos (diatonic genus) on E } f g a bes c d e2

} }

}}

In the chromatic and enharmonic genera, each tetrachord consists of a minor third plus two semitones, and a major third plus two quarter tones, respectively.Thomas J. Mathiesen, "Greece", The New Grove Dictionary of Music and Musicians, 2nd edition, 29 vols., edited by Stanley Sadie and John Tyrrell, (London: Macmillan Publishers, 2001), 10:339. {{ISBN|1-56159-239-0}} {{OCLC|44391762}}.

{{Block indent| {

\key e \locrian

\override Score.TimeSignature #'stencil = ##f

\relative c' {

\clef treble \time 7/4

e4^\markup { Greek Mixolydian tonos (chromatic genus) on E } f fis a bes ces d e2

} }

}}

{{Block indent| {

\key e \locrian

\override Score.TimeSignature #'stencil = ##f

\relative c' {

\clef treble \time 7/4

e4^\markup { Greek Mixolydian tonos (enharmonic genus) on E } eih f a aih bes d e2

} }

}}

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.Harold S. Powers, "Dorian", The New Grove Dictionary of Music and Musicians, 2nd edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). 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.Harold S. Powers and Frans Wiering, "Mixolydian", The New Grove Dictionary of Music and Musicians, 2nd edition, 29 vols., edited by Stanley Sadie and John Tyrrell, 16:766–767 (London: Macmillan Publishers, 2001), 767. {{ISBN|978-1-56159-239-5}}. 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.Harold S. Powers and Frans Wiering, "Hypomixolydian", The New Grove Dictionary of Music and Musicians, 2nd edition, 29 vols., edited by Stanley Sadie and John Tyrrell, 12:38 (London: Macmillan Publishers, 2001) {{ISBN|978-1-56159-239-5}}.

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.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}}.

{{Block indent| {

\override Score.TimeSignature #'stencil = ##f

\relative c'' {

\clef treble \time 7/4

g4^\markup { Modern G Mixolydian scale } a b c d e f g2

} }

}}

The Mixolydian scale has the formula

:1, 2, 3, 4, 5, 6, {{music|flat}}7, 8

That is, the 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.{{Cite book|last=Berle|first=Arnie|chapter-url=https://books.google.com/books?id=5YpeM9mTRIAC&pg=PA33|title=Mel Bay's Encyclopedia of Scales, Modes and Melodic Patterns: A Unique Approach to Developing Ear, Mind and Finger Coordination |chapter=The Mixolydian Mode/Dominant Seventh Scale |page=33 |date=1 April 1997|publisher=Mel Bay Publications, Incorporated|isbn=978-0-7866-1791-3|language=en}} 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

In the Mixolydian mode, the tonic, subdominant, and subtonic triads are all major, the mediant is diminished, and the remaining triads are minor. A classic Mixolydian chord progression is I-{{music|b}}VII-IV-V.

The Mixolydian mode is common in non-classical harmony, such as folk, jazz, funk, blues, and rock music. It is often prominently heard in music played on the Great Highland bagpipes.

{{quote|[In the blues progression, for] example [often] uses D Mixolydian triads...over the D7 [tonic] chord, then uses G Mixolydian triads...over the G7 [subdominant] chord, and so on.Harrison, Mark (2008). Stuff! Good Piano Players Should Know, p. 78. Hal Leonard. {{ISBN|9781423427810}}.}}

As with natural and harmonic minor, Mixolydian is often used with a major seventh degree as a part of the dominant and perfect cadences. "Wild Thing" by The Troggs is a, "perfect example," while others include "Tangled Up in Blue" by Bob Dylan, "Shooting Star" by Bad Company, and "Bold as Love" by Jimi Hendrix.Serena, Desi (2021). Guitar Theory For Dummies with Online PracticeM, p.168. Wiley. {{ISBN|9781119843177}}.

Klezmer musicians refer to the Mixolydian scale as the Adonai malakh mode. In Klezmer, it is usually transposed to C, where the main chords used are C, F, and G7 (sometimes Gm).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}}.

To hear a modern Mixolydian scale, one can play a G-major scale on the piano, but change the F# to F natural.

{{Unreliable sources|section|date=August 2024}}

{{Quote|Hit songs in Mixolydian include "Paperback Writer"..., "Manic Depression"..., "Fire"..., "Reelin' in the Years"..., "Only You Know and I Know"..., "The Tears of a Clown"..., "Don't Stop 'til You Get Enough"..., "Norwegian Wood"..., "Saturday Night's Alright..., "My Generation"..., "Centerfold"..., "Boogie Fever"..., "Hollywood Nights"..., and many others.Kachulis, Jimmy (2004). The Songwriter's Workshop, p.39. Berklee Press. {{ISBN|9781476867373}}}}

{{quote|Some song examples that are either entirely based in Mixolydian mode or at least have a Mixolydian section include the following: "But Anyway"..., "Cinnamon Girl"..., "Cult of Personality"..., "Fire on the Mountain"..., "Franklin's Tower"..., "Get Down Tonight".Serna, Desi (2021). Guitar Theory For Dummies with Online Practice, p.272. {{ISBN|9781119842972}}}}

• "Old Joe Clark"Wendy Anthony, "[http://archive.mandolinsessions.com/feb07/Anthony.html Building a Traditional Tune Repertoire: Old Joe Clark (Key of A-Mixolydian)] {{webarchive|url=https://web.archive.org/web/20160303174840/http://archive.mandolinsessions.com/feb07/Anthony.html |date=3 March 2016 }}", Mandolin Sessions webzine (February 2007) |(Accessed 2 February 2010).Ted Eschliman, "[http://www.mandolinsessions.com/?p=460 Something Old. Something New] {{webarchive|url=https://web.archive.org/web/20160304000530/http://mandolinsessions.com/?p=460 |date=4 March 2016 }}", Mandolin Sessions webzine (November 2009) (Accessed 2 February 2010).Micheal Houlahan, Philip Tacka (2015). Kodály in the Fifth Grade Classroom, p.104. Oxford. {{ISBN|9780190236243}}.Houlahan, Michael and Tacka, Philip (2008). Kodaly Today, p.56. Oxford. {{ISBN|9780198042860}}.
• "Gleanntáin Ghlas' Ghaoth Dobhair" (English: Gweedore's Green Glens), also called "Paddy's Green Shamrock Shores" – A traditional Irish folk song, composed by Francie Mooney (Proinsias Ó Maonaigh).{{Cite web|url=https://thesession.org/tunes/5936|title=Paddy's Green Shamrock Shore|date=5 July 2006 |via=thesession.org}}{{Cite web|url=https://www.scoreexchange.com/scores/69169.html|title = Paddy's Green Shamrock Shore - Download Sheet Music PDF file}} Recorded by the band Altan, with Mooney's daughter Mairéad on lead vocals, on their album Runaway Sunday (1997). Recorded by The Corrs as "Erin Shore" on their album Forgiven Not Forgotten (1995).
• "She Moved Through the Fair" – A traditional Irish folk song.{{cite book |first=Patrick |last=Allen |author-link=Patrick Allen (music educator) |title=Developing Singing Matters |year=1999 |publisher=Heinemann Educational Publishers |location=Oxford |page=[https://books.google.com/books?id=pUycX 22] |isbn=0-435-81018-9 |oclc=42040205}} {{dead link|date=June 2016|bot=medic}}{{cbignore|bot=medic}} Sometimes called "Our Wedding Day" and sung with different lyrics, such as by vocalist Anne Buckley in Michael Flatley's Lord of the Dance (1996).
• "The Wexford Carol"
• "Green Bushes"
• And countless Irish, Scottish and Cape Breton jigs, reels, highlands and other dance tunes recorded in the mode.

• "Fughetta super: Dies sind die heilgen zehn Gebot" in G major from Clavier-Übung III, BWV 679 by Johann Sebastian BachWalter Piston. Harmony (New York: W. W. Norton, 1941): pp. 29–30.
• Piano Concerto in A minor, third movement, by Edvard Grieg
• Concerto in modo misolidio, P 145 (1925) by Ottorino Respighi[https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.220176&catNum=220176&filetype=About%20this%20Recording&language=English "Concerto in Modo Misolidio for Piano and Orchestra – Three Preludes on Gregorian Themes"] by Adriano, English adaptation by David Nelson, Naxos Records cat. 8.220176 (1986)
• Et resurrexit from Beethoven's Missa solemnis
• Surgam et circuibo civitatem by Palestrina{{Cite web|date=24 October 2021|last=Farrant |first=Dan |title=12 Examples Of Songs In The Mixolydian Mode|url=https://hellomusictheory.com/learn/songs-in-the-mixolydian-mode/|access-date=31 January 2023|language=en-GB}}

• "Sweet Child o' Mine" by Guns N' Roses{{Cite web |title=Sweet Child O' Mine by Guns N' Roses Chords, Melody, and Music Theory Analysis – Hooktheory |url=https://www.hooktheory.com/theorytab/view/guns-n-roses/sweet-child-o-mine#:~:text=About%20The%20Key%20Of%20C,key%20of%20C%E2%99%AF%20Mixolydian. |access-date=2023-06-28 |website=www.hooktheory.com}}
• "Thunderstruck" by AC/DC{{Cite web |title=Thunderstruck by AC DC Chords, Melody, and Music Theory Analysis – Hooktheory |url=https://www.hooktheory.com/theorytab/view/ac-dc/thunderstruck#:~:text=About%20The%20Key%20Of%20B,the%20key%20of%20B%20Mixolydian. |access-date=2023-06-28 |website=www.hooktheory.com}}
• "You Really Got Me" by the Kinks{{Cite web|url=https://www.youtube.com/watch?v=ygn7ORgPbEE|title=Leonard Bernstein on Rock Music|date=12 March 2009 |via=YouTube}}
• "I Feel Fine" by the Beatles{{Cite web|url=https://www.youtube.com/watch?v=YYmzVHRAo94|title=The Mixolydian Mode--The Sound of Rock|date=17 February 2020 |via=YouTube}}
• "Express Yourself" by Madonna{{Cite web |title=Express Yourself by Madonna Chords, Melody, and Music Theory Analysis |url=https://www.hooktheory.com/theorytab/view/madonna/express-yourself |access-date=15 April 2024 |website=HookTheory.com}}
• "Norwegian Wood (This Bird Has Flown)" by the Beatles{{Cite web|url=https://www.youtube.com/watch?v=YYmzVHRAo94&t=106s|title=The Mixolydian Mode--The Sound of Rock (at 1:46)|date=17 February 2020 |via=YouTube}}
• "Royals" by Lorde{{Cite web|url=http://www.rebelmusicteacher.com/blog/2016/3/23/mixolydian-mode-in-royals|title = Getting Really Medieval?: Mixolydian Mode in Lorde's "Royals"| date=2 May 2016 }}
• "Born This Way" by Lady Gaga{{Cite web |title=Born This Way by Lady Gaga Chords, Melody, and Music Theory Analysis |url=https://www.hooktheory.com/theorytab/view/lady-gaga/born-this-way |access-date=15 April 2024 |website=HookTheory.com}}
• "Single Ladies (Put a Ring on It)" by Beyoncé{{Cite web|url=https://youtube.com/watch?v=0rRKBXQotnA|title = Why 'Single Ladies' is so cool | Q+A| date=18 March 2019 |via = YouTube}}
• "Clocks" by Coldplay{{Cite web|url=http://www.rebelmusicteacher.com/blog/2018/8/20/changing-the-mix-mixolydian-mode-in-coldplays-clocks|title=Changing the Mix: Mixolydian Mode in Coldplay's "Clocks"|website=Rebel Music Teacher|date=20 August 2018 }}
• "Happy Together" by the Turtles{{Cite web|url=https://www.hooktheory.com/theorytab/view/the-turtles/happy-together|title=Happy Together by The Turtles Chords, Melody, and Music Theory Analysis – Hooktheory|website=hooktheory.com}}
• "Epistrophy" by Thelonious MonkGross, David (1997). Harmonic Colours in Bass, p.28. {{ISBN|9781576239353}}.
• "Freedom Jazz Dance" by Eddie Harris
• "Dark Star" by Grateful Dead
• "L.A. Woman" by the Doors
• "All Blues" by Miles Davis
• "If I Needed Someone" by the Beatles{{Cite web|title=7 songs featuring Mixolydian mode |url=https://musictales.club/article/7-songs-featuring-mixolydian-mode|access-date=31 January 2023|website=Music Tales |year=2020}}
• "Marquee Moon" by Television
• "Sweet Home Alabama" by Lynyrd Skynyrd
• "Revelation Song" by Jennie Lee Riddle{{Cite web|url=https://www.steadyprintshop.com/who-is-the-original-singer-of-the-revelation-song|title=Who is the original singer of the Revelation Song|website=steadyprintshop.com}}{{Cite web |title=Revelation Song {{!}} Official Song Resources on SongSelect® |url=https://songselect.ccli.com/songs/4447960/revelation-song/viewchordsheet |website=songselect.ccli.com}}

• 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–{{music|flat}}VII–IV{{citation needed|date=October 2012}}
• Backdoor cadence

{{Reflist}}

• Hewitt, Michael. Musical Scales of the World. The Note Tree. 2013. {{ISBN|978-0957547001}}.

• {{Commons category-inline|Mixolydian mode}}
• [https://gosk.com/scales/mixolydian-scale-for-guitar.php Mixolydian scale on guitar]

{{Modes}}

{{Authority control}}

Category:Modes (music)