Part 11: Modes with an audible reason · Lesson 102 / 117
Strum a Mixolydian setting
Use G–F–C–G while keeping G as the intended centre.
Use G | F | C | G and arrange the phrase to return clearly to G. Relative to G major, the roots are I–bVII–IV–I. F major supplies F–A–C, while the tonic chord G supplies G–B–D.
The note F is b7 above G and the root of the F chord. It is a clear target over that chord. Returning to G, B or D over the tonic chord helps reinforce G's role.
These chords also contain notes shared with C major. The collection alone does not settle the analysis. Our backing and melodic endings deliberately emphasise G; another arrangement could establish a different centre.
Compare this with G7 resolving to C from the seventh-chord chapter. In that earlier context, G7 served V7 in C. Here G is home. Chord quality, note collection and harmonic function must be considered separately.
Hear it
Mixolydian Vamp
Audio fileFour-beat count-in · 60 BPM · Warm sampled electric guitar. Listen once before playing along.
A concrete example
G(I) | F(bVII) | C(IV) | G(I), with G-centred phrase endings. F is b7 above G and root of F.
Try it, slowly
- Strum once per bar and listen for the G return.
- Play F over the F chord.
- Compare a G-ending phrase with a C-ending phrase and notice how emphasis affects the sense of home.
Check one idea
Why is this not automatically C major just because the notes are shared?
Show the explanation
The intended tonic is established by the arrangement, bass and phrase endings. Shared notes do not require a shared tonal centre.
A good place to stop
You can state the context that supports G as tonic.
Return to the example after a short break. A clear explanation matters more than speed.