B Mixolydian Scale: Notes, Chords, and How to Play It

B Mixolydian brings the Mixolydian sound into sharp-key territory. Built on the 5th degree of E major, it shares those same notes but treats B as home. The B7 chord is a staple in blues, rock, and country, and B Mixolydian is the scale that colours melodies and solos over that chord. Four sharps might look daunting on paper, but the patterns on guitar and piano are comfortable once you know the parent key.

What Makes Mixolydian Different from Major?

The Mixolydian mode is almost identical to the major scale. The only difference is the flatted seventh degree — the note one whole step below the root instead of a half step. In B Mixolydian, this means A natural rather than A♯.

This ♭7 removes the leading tone — that half-step pull from the 7th degree up to the root that gives the major scale its strong sense of resolution. Without it, Mixolydian sounds more open, relaxed, and bluesy. The tonic chord is naturally a dominant 7th (B7) rather than a major 7th, which is exactly why Mixolydian is the go-to scale for playing over dominant 7th chords in jazz and blues.

For a broader overview of how modes work, see Modes Explained: Dorian to Locrian.

Notes of the B Mixolydian Scale

The B Mixolydian scale contains seven notes:

B – C♯ – D♯ – E – F♯ – G♯ – A

These are the same notes as E major, but starting and resolving on B. The scale follows the Mixolydian interval pattern — W – W – H – W – W – H – W.

The half steps fall between D♯–E (degrees 3–4) and G♯–A (degrees 6–7). Compare this to B major, where the half steps fall between D♯–E and A♯–B. The only change is that final interval: A replaces A♯.

Parent Major Scale

B Mixolydian is the 5th mode of E major. This means it uses exactly the same notes as E major but with B as the tonal centre.

To find the parent major scale for any Mixolydian mode, go down a perfect 5th (or up a perfect 4th) from the root.

Comparison with B Major

Since Mixolydian differs from major by just one note, a direct comparison is the clearest way to understand the mode:

That single change — A♯ to A — transforms the sound. The major scale pulls strongly towards resolution; the Mixolydian mode sits comfortably without that tension.

B Mixolydian on Piano

B Mixolydian has four sharps: F♯, C♯, G♯, and D♯. This is the same key signature as E major. The scale starts on B and the fingering follows standard patterns for keys with multiple sharps.

Right hand fingering (ascending): 1 – 2 – 3 – 1 – 2 – 3 – 4 – 5 (thumb crosses under after D♯, then fingers walk up to B)

Left hand fingering (ascending): 4 – 3 – 2 – 1 – 3 – 2 – 1 – 4 (the fourth finger starts on B, thumb plays F♯, then the hand repositions)

Hold a B7 chord with the left hand while running the scale with the right to reinforce the Mixolydian sound and train your ear to hear B as home.

B Mixolydian on Guitar

B Mixolydian works well in the 2nd position on guitar, where the open B string provides a convenient root note on the 2nd string.

2nd position (low to high):

The open B string is the root, giving you a convenient anchor. The scale also works well at the 7th position with B on the 6th string.

Use the guitar fretboard view in the Interactive Chord Finder to see all positions at once.

Diatonic Chords in B Mixolydian

Stacking thirds on each scale degree produces these seven triads:

The ♭VII chord (A major in B Mixolydian) is the characteristic chord of the mode. The movement from B to A — a whole-step drop — is the quintessential Mixolydian sound.

For more on how diatonic chords are constructed, see Diatonic Chords: A Beginner’s Guide.

Seventh Chords

Adding a fourth note to each triad creates seventh chords:

The tonic chord is a dominant 7th (B7). In many blues and rock songs, B7 functions as the V chord of E, but in Mixolydian context it is the home chord — resting rather than pushing towards resolution.

For more on seventh chords, see Seventh Chords: The Complete Guide.

Common Chord Progressions in B Mixolydian

Mixolydian progressions tend to be simpler and more riff-driven than major key progressions.

The I – ♭VII movement (B – A) gives that characteristic Mixolydian drop — both chords are easy barre shapes at adjacent positions on guitar.

For a deeper dive into how progressions work, see Chord Progressions Every Musician Should Know.

Songs That Use B Mixolydian

B Mixolydian appears across several genres:

• “Bold as Love” — Jimi Hendrix
• “Day Tripper” — The Beatles (E riff, with B7 sections)
• “Freeway Jam” — Jeff Beck
• “Jessica” — The Allman Brothers Band (sections)
• “The Thrill Is Gone” — B.B. King (B7 vamp sections)

Listen for the ♭7 note (A natural) in the melody or the ♭VII chord (A major) in the harmony — these are the tell-tale signs of Mixolydian rather than plain major.

Related Scales and Modes

B Mixolydian belongs to the E major family. All seven modes share the same notes:

Practice Tips

Emphasise the ♭7. Play B major ascending, then play B Mixolydian. The only difference is A vs A♯ — train your ear to hear that subtle but powerful shift.

Vamp on I – ♭VII. Alternate between B and A chords while improvising with the scale. On guitar, barre both at the 2nd and 5th frets (or use the open A shape).

Play over a B7 drone. Hold a B7 chord or use a backing track that sits on B7. Improvise with the scale and notice how A natural fits perfectly over the chord.

Use the open B string. On guitar, let the open 2nd string ring as a root reference while playing scale patterns on the surrounding strings.

Compare with B major. Play a phrase in B major, then repeat it with A natural instead of A♯. Hear how the character shifts from bright resolution to bluesy ease.

Try It Yourself

Open the Interactive Chord Finder, select B as the root and Mixolydian as the scale. You will see every note highlighted on the piano keyboard or guitar fretboard, the step pattern visualised as intervals, and all diatonic chords laid out in a table — ready to play and explore.

For the complete list of scales in every key, see Scales for Piano and Guitar: The Complete Reference Guide.