Mixolydian mode chord chart

Mixolydian mode differs with one note from the major scale, something that affects the iii chord and V chord primarily in chord progressions. In addition, there are some differences on how this mode is used then creating progressions. For example, the I chord often turns into a I7 chord.

Whereas it is natural to end progressions with a stable major or minor "home chord", a dominant chord is unstable. This makes some "Mixolydian progressions" less valid and is better treated as parts of progressions. But a progression such as D - A - E is relevant in a rock context, although it also can be seen as a E major progression with a lowered sixth degree.

The first table shows the relationship of all triads in this mode. The first column shows the key note of the mode and on the same row the other chords that fit together with it.

Chords in Mixolydian modes

I	ii	iii	IV	v	vi	VII
C#	D#m	Fdim	F#	G#m	A#m	B
F#	G#m	A#dim	B	C#m	D#m	E
B	C#m	D#dim	E	F#m	G#m	A
E	F#m	G#dim	A	Bm	C#m	D
A	Bm	C#dim	D	Em	F#m	G
D	Em	F#dim	G	Am	Bm	C
G	Am	Bdim	C	Dm	Em	F
C	Dm	Edim	F	Gm	Am	Bb
F	Gm	Adim	Bb	Cm	Dm	Eb
Bb	Cm	Ddim	Eb	Fm	Gm	Ab
Eb	Fm	Gdim	Ab	Bbm	Cm	Db
Ab	Bbm	Cdim	Db	Ebm	Fm	Gb
Db	Ebm	Fdim	Gb	Abm	Bbm	B
Gb	Abm	Bbdim	B	Dbm	Ebm	E
Cb	Dbm	Ebdim	E	Gbm	Abm	A

Mixolydian chord progressions

Here are chord progressions based on the Mixolydian mode:

Dm - Gm - C (C Mixolydian)

Fm - C - G (G Mixolydian)

D - A - E (E Mixolydian)

A - D - E - A - G - D (A Mixolydian)

Mixolydian is closely related to Major and Minor keys and the progressions are not often "Mixodydian-specific" so to say.

Four-note chords in Mixolydian modes

I	ii	iii	IV	v	vi	VII
C#7	D#m7	Fm7b5	F#maj7	G#m7	A#m7	Bmaj7
F#7	G#m7	A#m7b5	Bmaj7	C#m7	D#m7	Emaj7
B7	C#m7	D#m7b5	Emaj7	F#m7	G#m7	Amaj7
E7	F#m7	G#m7b5	Amaj7	Bm7	C#m7	Dmaj7
A7	Bm7	C#m7b5	Dmaj7	Em7	F#m7	Gmaj7
D7	Em7	F#m7b5	Gmaj7	Am7	Bm7	Cmaj7
G7	Am7	Bm7b5	Cmaj7	Dm7	Em7	Fmaj7
C7	Dm7	Em7b5	Fmaj7	Gm7	Am7	Bbmaj7
F7	Gm7	Am7b5	Bbmaj7	Cm7	Dm7	Ebmaj7
Bb7	Cm7	Dm7b5	Ebmaj7	Fm7	Gm7	Abmaj7
Eb7	Fm7	Gm7b5	Abmaj7	Bbm7	Cm7	Dbmaj7
Ab7	Bbm7	Cm7b5	Dbmaj7	Ebm7	Fm7	Gbmaj7
Db7	Ebm7	Fm7b5	Gbmaj7	Abm7	Bbm7	Bmaj7
Gb7	Abm7	Bm7b5	Bmaj7	Dbm7	Ebm7	Emaj7
Cb7	Dbm7	Ebm7b5	Emaj7	Gbm7	Abm7	Amaj7

Comments

The four-note chords in the second table are not the only possible four-note chords based on the Mixolydian, and can of course be extended to five-note chords as well. The I chord, for example can also be 9th or 11th; the ii chord can also be m9 and m11; the IV chord can also be maj9 and maj13; the v chord can also be m9 and m11; the VII chord can also be 6/9 and maj9.

Some chord progressions including extended Mixolydian based chords:

C7 - Dm9 - Bmaj7 - Fmaj7 (C Mixolydian)

Am7 - Cmaj7 - D7 (D Mixolydian)

E7 - Amaj7 - D6 (E Mixolydian)

Dm7 - Em7 - G7 (G Mixolydian)

Dmaj7 - F#m7 - A7 (A Mixolydian)

As touched upon earlier, "Mixolydian progressions" can often be seen as variants of progressions in major keys. For example, Dm7 - Em7 - G7 can also be treated as a part of a progression in C major with G7 function as the V7 chord.

The diminished iii degree is not used often in Mixolydian progressions because it can fool the ear to hear the IV degree as the tonal center. One option is to alter it with III7:

C - E7 - Am - F (C Mixolydian)

Another possible alteration is to change the v degree to a V7 (once again for increase the feeling of the tonal center, the I chord that is):

C - C7 - Dm - G7 - C (C Mixolydian)

Ebook

The Illustrated Chord progression ebook includes around 200 progressions – all chords illustrated with diagrams. Together with audio examples.

Learn more