Mixolydian 3rd Intervals and Patterns

Now it's time to unlock the mysteries of the Mixolydian mode, an important "secret weapon" in the rock
keyboardist' s arsenal! Here is the G Mixolydian mode, which contains all the white keys from G up to the
next G on the keyboard:

il

il

il

Another little theory note: the term "Mixolydian mode" technically means "a major scale displaced to start
on its 5th degree." If we take the C major scale derived back in Chapter 2, and start the scale on its 5th
degree (G), we will get the G Mixolydian mode above. Another way to construct a Mixolydian mode is to
take a major scale and lower the 7th degree by half-step. If we take the G major scale derived back in
Chapter 2 and lower the 7th degree by half-step (i.e., replace the F# with F), we will again get the G
Mixolydian mode above.
(See the Appendix at the back of this book, for a list of all Mixolydian modes.)
Rock keyboard players love to use this mode when playing over dominant 7th chords, which are a staple
of blues/rock harmony. Earlier in this chapter, you'll remember that we derived all the four-part diatonic
chords in the key of C, including the G7 dominant chord built from the 5th degree of the scale. Well, if you
look at the G Mixolydian mode and take the 1st, 3rd, 5th, and 7th notes, these are G, B, D, and F.
Collectively, they spell the G7 chord. This chord is therefore contained within the G Mixolydian mode,
which can then be referred to as a "scale source" for this chord.
One common application of Mixolydian modes is to extract 3rd intervals and use them in a camping
pattern. Here are the 3rd intervals contained within the G Mixolydian mode:

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:U:

fl.

II

Now we'll build some patterns using the B-D, C-E, and D-F intervals shown above, for use on a G7
dominant chord:

on

Swing eighths

Q)

Q)

TRACK 48
piano only

TRACK 49
piano plus
rhythm section

G7

Looking at the right-hand part in this example, we see the Mixolydian 3rd intervals (B-D, C-E, D-F, and
C-E) being used on all the downbeats (i.e., beats 1, 2, 3, and 4) in each measure. The use of the B-D and
D-F intervals on beats 1 and 3 is important, as these intervals are most "inside" the G7 chord, and are
therefore placed on beats 1 and 3, the strong beats in a 4/4 measure. The C-E intervals on beats 2 and 4 are
passing intervals (placed on the weak beats) that connect between the other intervals on the strong beats.
Meanwhile, the right-hand thumb is playing the root (G) on all of the upbeats. Harmonically, this example is
similar to Tracks 38/39, which alternated between I and IV triads on the strong and weak beats, respectively.

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