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In music, the fifth mode of the major scale, with the following half step/whole step progression: W-W-H-W-W-H-W.
Simliar to the major scale, except that it contains an minor seventh.
For example:
  • C Mixolydian contains the notes C D E F G A Bb
  • Bb Mixolydian contains the notes Bb C D Eb F G Ab
  • E Mixoydian contains the notes E F# G# A B C# D
Two ways of playing the G Mixolydian scale in guitar tablature form:
Three notes per string:
e|--------------------------------5-7-8-|
B|--------------------------5-6-8-------|
G|--------------------4-5-7-------------|
D|--------------3-5-7-------------------|
A|--------3-5-7-------------------------|
E|--3-5-7-------------------------------|

Staying in (almost) the same neck position:
e|------------------------------3-5-----|
B|------------------------3-5-6---------|
G|------------------2-4-5---------------|
D|------------2-3-5---------------------|
A|------2-3-5---------------------------|
E|--3-5---------------------------------|

Chord Scale Analysis of the Mixolydian Mode

The Mixolydian mode is the only Major Dominant mode of the Major Scale. It takes a Dominant Seven chord, which is usually written as x7 (with x being any note you wanna put there). To this day, I'm not really sure why the dominant seven chord is notated this way, since you would think the major would be, but whatever. Since this mode takes a dominant chord, it has dominant feel, and is usually used in movement to the I chord, or the Ionian mode. It is a fairly versatile mode, with only one avoid note, the fourth.

Analysis of G Mixolydian

G (Root)

A (Two, Nine, Major Second, Major Ninth)

B (Three, Major Third)

C (Scale Four, Scale Perfect Fourth)

D (Five, Perfect Fifth)

E (Six, Major Sixth, Thirteen, Major Thirteenth)

F (flat Seven, Minor Seventh)

Avoid the Four

The rule to remember while working with dominant chords is to always avoid the four. NEVER, AND I MEAN NEVER PUT A FOUR IN A DOMINANT CHORD! The four is also the root of the Major Scale, and the I Chord. Since the main function of a dominant chord is to create a pull to the I (tension and release is a major theme in music), and by including the four, you create Subdominant feel, which is not what you are looking for. That, and voice the four could lead to inadvertent flat nines, since a four, or eleven as we call it in the chord biz, is voiced above the third. Also, be sure to voice the Major Thirteenth above the Minor Seventh for the same reason

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