How to use the mixolydian mode to make chords and progressions

[@WriteASong]

7 Modes Of The Major Scale : kzbin.info/www/bejne/eWqWnYCBqKpknJo

[@syedbukhari6578]

I watched so many videos for which chords to use in mixolydian mode. This is the BEST!!!

[@WriteASong]

Thank you! I'm glad the video helped.

[@celinamello2996]

Great video! There's just a little mistake: At 0:48 , when the piano plays the escale, it plays #4 ( F# ) , not 4 .

[@WriteASong]

Thanks for the comment Celina! Yes I'm aware of the mistake, I will issue a correction soon.

[@colinliaubass1712]

@@WriteASonghe actually played the Lydian dominant

[@celinamello2996]

@@WriteASong thank you for the great videos !

[@celinamello2996]

@@colinliaubass1712 yes .

[@dbruzzlawesome9452]

@@colinliaubass1712its actually just lydian. It never played a Bb

[@GuitarguyRichard56]

Very good lesson. Thanks alot

[@WriteASong]

You're welcome, glad you liked it!

[@sieranto]

Awesome lesson, thank you! :)

[@WriteASong]

You're welcome!

[@bobsmith12345]

amazing video!

[@WriteASong]

Thanks!

[@colinliaubass1712]

The note of intrest is the 7th degree

[@downhomekitty]

Thank you for this. Can you get a strong resolution with mixo, or do you always gotta fade out to end?

[@WriteASong]

Yes if you play the IV - I change you will get a strong resolution to end on. I could have made some of the examples end like this without repeating and fading but realise now I forgot to!

[@downhomekitty]

@@WriteASong Thank you so much!

[@bambees.k0wgirl]

🙂👍 nice

[@WriteASong]

Thanks!

[@colinliaubass1712]

At 3:35 he meant bVII NOT VII

[@nicksimons7391]

i think in the context of a mixolydian scale it’s just the VII! if we were in regular C Major it’d be a bVII but in C mixolydian, Bb is the natural VII chord

[@colinliaubass1712]

Aeolian, phrygian and locrian has a b3

[@Noamyo10]

And dorian…

[@toonthehumble]

0:52 #4 ?

[@raidensama1511]

I heard that too!

[@WriteASong]

I think you're right, not sure how I missed that in the edit!

[@raidensama1511]

@@WriteASong it happens sometimes. A ♯4 never hurt anyone.

[@sergiom5907]

Yeah I heard something off too

[@user-gq2tb2em9m]

guess he "mixed" it up with the lydian scale

[@RealPartySongs]

What about the I iii !? C major E diminished.

[@WriteASong]

I left out the diminished chord because a lot of songwriters don't like the sound of them. Feel free to experiment, I'd start by using some of the basic progressions like I VII IV and mixing in the iii chord. Hope that helps.

[@soumendasgupta2272]

isn't Dorian is the minor of the same key?

[@ChowdMusic]

Dorian is a minor mode, yes, but built from the 2nd scale degree. It is not the same 'natural minor' (Aeolian), which is built from the 6th degree. The difference is that Dorian has a natural 6th instead of the flat 6th of the Aeolian scale.

[@soumendasgupta2272]

@@ChowdMusic help me to understand this, if you build a minor scale starting from 2nd of any major scale which will include b3, b7 and natural 6th then it will be Dorian ? .. but let's take an example of A minor where the 6th is natural right?

[@colinliaubass1712]

@@soumendasgupta2272 Dorian is less sad because of it 6th is natural.

[@Josh_Fredman]

@@soumendasgupta2272 You have the right idea. Yes, any major scale with a flattened 3rd, flattened 6th, and flattened 7th becomes the parallel natural minor scale (e.g., C major becomes C minor by flattening those scale degrees). The natural minor scale is also known as the Aeolian mode, mode 6 of the seven modes of major. Dorian is mode 2 of major, with only a flattened 3rd and flattened 7th, with a natural 6th. Don't mistake this with key signatures that already have sharps or flats in them. If you're taking a minor key like A-sharp minor and converting it into its parallel Dorian key (A-sharp Dorian), you would raise the 6th degree (F#) and this note would become FX (F double-sharp). If you find yourself in this situation, there is usually going to be an enharmonically equivalent key that can help you avoid any double sharps or flats if you don't want to deal with them. (Enharmonic equivalence means assigning different letters to the same notes. The note E# is enharmonically equivalent to the note F.) In the case of the key of A-sharp minor, the enharmonic equivalent key is B-flat minor. If you rescored your music for this key, then when you modulated into the parallel Dorian key you would no longer have to deal with the double sharp. But personally I find it more natural to just think about the double sharps and double flats as such when they come up.

[@soumendasgupta2272]

@@Josh_Fredman I would rather say Bb minor for starter 😅😅 .. music is simple and would love to keep it that way 😃