Mixolydian mode

Mixolydian mode Mixolydian briefly referred originally a Oktavgattung of ancient Greek Systema teleion, later in the medieval system of the Church notes the seventh tone or tetrardus authenticus (indicated by the Ambitus g - g1 repercussa d and the final g ).

Today is often only understood (eg in modal jazz) including a modal scale with the same interval structure.

Since the third stage of the Mixolydian scale forms a großeTerz to root, it has a durähnlichen character. Between the third and fourth, and the sixth and seventh stage is a half step, the other intervals are whole steps. A characteristic feature is in contrast to the major scale minor seventh.

The key of G Mixolydian contains the master tones of Western music, which correspond to the white keys keyboard instruments.

The mixolydian scale originated in ancient Greece, there was however first hypophrygisch (or hyperlydisch, iastisch or ionic), while the later was called Mixolydian Locrian mode. It was not until the early Middle Ages there was a misunderstanding on the confusion between the modes. The Mixolydian was later used in the Christian church music of the Middle Ages.

Mixolydian contains the tonic chord used in the blues with minor seventh. Therefore, the scale plays a major role in the blues and rock music. In the Klezmer music it occurs under the designation " Moloch Adonoy " on.

The Mixolydian mode is the Indian raga Khamaja and the Ethiopian scale Ambassel.

Sample and pictorial representation

C Mixolydian? / I