Ok, so I've been trying to read what I've been able to find about modes, and I think I 'm slowly getting it. I've read through a lot of the relevant threads on the board, and there's lots of good info.

My thesis: I can use the A Mixolydian scale for a solo over the following chord progression.

|A |A7 |Bm |Bm7 |C#m/E|F#m/A|Bm/D |E7 |

I realise the G in the A Mixolydian scale clashes with the G# in the C#m and E7 chords, but I can just avoid it or use G# instead during those chords, can't I?

If I'm right about this, I think I know enough about modes to apply them to my songwriting. I'm sure someone here can confirm this/explain why it's wrong.
Last edited by kyrreca at Feb 8, 2007,
you could do that, but it wouldnt be called an A mixolydian chord progression. you could play a

A B C# D E F# G A

I ii iii(dim) IV v vi VI

You could play a C#m7b5 in order to compensate for the G# (C# E G B)
You could also turn the E7 into an Em7 and you'd be completely in key.

| A | A7 | Bm | Bm7 | C#m7b5 | F#m/A | Bm/D | Em7 |

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OK, thanks a lot.
The C#m7b5 adds a nice touch, I'm gonna stick with the E7, though. At least I'm flirting with the mixolydian mode.
Not reportworthy, it's a nice question that isn't really answered in the faq.
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