Mixolydian mode chord chart

Mixolydian mode differs with one note from the major scale, something that affects the iii and V chords 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.

The first table with chords 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 fits 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 - C7 (C Mixolydian)

Fm - C - G7 (G Mixolydian)

D - A - E (E Mixolydian)

G - Bm - Em - D - A (A Mixolydian)

Mixolydian is closed related to Major and Minor keys and the progressions are not often "Mixodydian-specific" so to say. The progressions above could also apply to major and minor keys.

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

Comment

The four-note chords in the second table are not the only possible four-note chords based on the Mixolydian, and it 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)

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 altered it with a III7:

C - E7 - Am7 - Fmaj7 (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):

C7 - Dm7 - G7 - C7 (C Mixolydian)

See also Dorian mode chord chart

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