D-sharp mixolydian 7th chords

The Solution below shows the D-sharp mixolydian mode 7th chords, (I⁷, ii⁷, iii^ø7, IV⁷, v⁷, vi⁷, VII⁷) on a piano, with mp3 and midi audio.

The Lesson steps then explain the 7th chord construction from this mode, and how to name the quality of each chord based on note intervals.

For a quick summary of this topic, and to see the chord quality chart for this mode, have a look at Mode chord.

Solution - 7 parts

1. D-sharp mixolydian chord I⁷

The D-sharp mixolydian chord I⁷ is the D# dom 7 chord, and contains the notes D#, F##, A#, and C#.

This tonic 7th chords root / starting note is the 1st note (or scale degree) of the D-sharp mixolydian mode.

The roman numeral for number 1 is 'I', and is used to indicate this is the 1st chord in the mode. Just like a major chord, the dominant 7th chord is constructed using a major third interval,so the roman numeral is shown in upper case.

2. D-sharp mixolydian chord ii⁷

The D-sharp mixolydian chord ii⁷ is the E# min 7 chord, and contains the notes E#, G#, B#, and D#.

This supertonic 7th chords root / starting note is the 2nd note (or scale degree) of the D-sharp mixolydian mode.

The roman numeral for number 2 is 'ii', and is used to indicate this is the 2nd chord in the mode. It is in lower case to denote that the chord is a minor chord.

3. D-sharp mixolydian chord iii^ø7

The D-sharp mixolydian chord iii^ø7 is the F## half-dim7 chord, and contains the notes F##, A#, C#, and E#.

This mediant 7th chords root / starting note is the 3rd note (or scale degree) of the D-sharp mixolydian mode.

The roman numeral for number 3 is 'iii', and is used to indicate this is the 3rd chord in the mode. Just like a minor chord, the half-diminished 7th chord is constructed using a minor third interval, so the roman numeral is shown in lower case.

The half-diminished symbol '^ø' is placed after the roman numerals to indicate this is a half-diminished 7th chord.

4. D-sharp mixolydian chord IV⁷

The D-sharp mixolydian chord IV⁷ is the G# maj 7 chord, and contains the notes G#, B#, D#, and F##.

This subdominant 7th chords root / starting note is the 4th note (or scale degree) of the D-sharp mixolydian mode.

The roman numeral for number 4 is 'IV', and is used to indicate this is the 4th chord in the mode. It is in upper case to denote that the chord is a major chord.

5. D-sharp mixolydian chord v⁷

The D-sharp mixolydian chord v⁷ is the A# min 7 chord, and contains the notes A#, C#, E#, and G#.

This dominant 7th chords root / starting note is the 5th note (or scale degree) of the D-sharp mixolydian mode.

The roman numeral for number 5 is 'v', and is used to indicate this is the 5th chord in the mode. It is in lower case to denote that the chord is a minor chord.

6. D-sharp mixolydian chord vi⁷

The D-sharp mixolydian chord vi⁷ is the B# min 7 chord, and contains the notes B#, D#, F##, and A#.

This submediant 7th chords root / starting note is the 6th note (or scale degree) of the D-sharp mixolydian mode.

The roman numeral for number 6 is 'vi', and is used to indicate this is the 6th chord in the mode. It is in lower case to denote that the chord is a minor chord.

7. D-sharp mixolydian chord VII⁷

The D-sharp mixolydian chord VII⁷ is the C# maj 7 chord, and contains the notes C#, E#, G#, and B#.

This subtonic 7th chords root / starting note is the 7th note (or scale degree) of the D-sharp mixolydian mode.

The roman numeral for number 7 is 'VII', and is used to indicate this is the 7th chord in the mode. It is in upper case to denote that the chord is a major chord.

Lesson steps

1. Piano key note names

The white keys are named using the alphabetic letters A, B, C, D, E, F, and G, which is a pattern that repeats up the piano keyboard.

Every white or black key could have a flat(b) or sharp(#) accidental name, depending on how that note is used. In a later step, if sharp or flat notes are used, the exact accidental names will be chosen.

The audio files below play every note shown on the piano above, so middle C (marked with an orange line at the bottom) is the 2nd note heard.

2. D-sharp mixolydian mode notes

The piano keyboard below contains the notes of the D-sharp mixolydian mode.

Starting from the 1st mode note, each lesson step below will take each note in turn and construct a 7th chord using that note as the root / starting note of that chord.

The 7th chord will be built using only the notes of the mode we are interested in.

Identifying the 4 notes in the chord

7th chords are built using the 1st, 3rd, 5th, and 7th notes of a mode, so the first 7th chord below will constructed a chord using notes D#, F##, A# and C#.

The second 7th chord below will repeat this, but this time starting on the 2nd note, so its notes will be E#, G#, B# and D# - ie. the 1st, 3rd, 5th and 7th positions relative to that 2nd root note.

This pattern is repeated for all 7 notes in the mode, resulting in 7 seventh chords.

Identifying the chord quality

Although the above method identifies each 7th chord notes from the mode used, it does not identify the complete chord name including its quality.

Should each 7th chord that we build be called diminished, half-diminished, minorminor-major, dominant, major, augmented, or augmented-major ?

Every 7th chord must have one of these quality names.

To decide the name the chord quality, each step below will use note intervals to calculate how many half-tones / semitones / piano keys between the root and the 3rd, 5th and 7th notes.).

Taken together, the combination of the 3rd, 5th and 7th note intervals will define the complete 7th chord quality name.

The steps below will show how this works for each 7th chord in turn, but in practice it might just be easier to memorize the triad quality table in the Mode chord summary for each mode type.

3. 1st 7th chord in D-sharp mixolydian mode

Identifying the 4 notes in the chord

The table below shows the D-sharp mixolydian mode, ordered to show the 1st note as the first column in the table.

To identify the 7th chord note names, use the 1st, 3rd, 5th and 7th columns / scale degrees, which are notes D#, F##, A#, and C#.

Identifying the chord quality

To identify the 7th chord quality that has these notes, begin by counting the number of half-tones / semitones between the root and each of the notes.

For the 3rd interval (note 2 on the diagram) the distance between D# and F## is 4 half-tones.

Now look at the complete Note interval table, and identify the note interval that has a distance of 3 half-tones (first column), and with an interval no. of 3 (last column).

The note interval name for the 3rd note / scale degree is therefore major, also called M3 for short. More details of this interval are at D#-maj-3rd.

Repeating this for the 5th note / scale degree, the distance between D# and A# is 7 half-tones, and the note interval name is perfect (P5). More details of this interval are at D#-perf-5th.

Again the 7th note / scale degree, the distance between D# and C# is 10 half-tones, and the note interval name is minor (m7). More details of this interval are at D#-min-7th.

Finally, we have the name of the three note intervals of this 7th chord, and can now lookup the name of the 7th chord quality having these intervals.

Looking at the Seventh chord table, the name of the 7th chord quality having major(M3), perfect(P5) and minor(m7) note intervals is dominant 7th.

And so the complete 7th chord Name prefixes the root note, D#, onto this quality, giving us the D# dom 7 chord.

Scale chord names using a,b and c notation

The chord symbol I could be followed by the letter a to indicate that it is D# dominant 7th chord in root position (ie not inverted) - D-sharp mixolydian mode chord Ia.

Instead, I could be followed by the letter b to indicate that it is D# dominant 7th chord in 1st inversion - D-sharp mixolydian mode chord Ib.

Letter c could be used to indicate that it is D# dominant 7th chord in 2nd inversion - D-sharp mixolydian mode chord Ic.

Finally, letter d could be used to indicate that it is D# dominant 7th chord in 3rd inversion - D-sharp mixolydian mode chord Id.

Scale chord names using figured bass notation

In place of the a-d symbols above, figured bass symbols could be used to indicate chord positions after I:

So in this key, I7 refers to the D# dominant 7th chord in root position.

For 7th chord inversions, I65 refers to the D# dominant 7th chord in 1st inversion, I43 refers to the D# dominant 7th chord in 2nd inversion, and I2 refers to the D# dominant 7th chord in 3rd inversion.

The next scale chord

The next step will need to calculate the 7th chord whose root / starting note is next mode note.

To do this, the first column we used in this step, D#, will be moved to the final column of the table.

4. 2nd 7th chord in D-sharp mixolydian mode

Identifying the 4 notes in the chord

The table below shows the D-sharp mixolydian mode, ordered to show the 2nd note as the first column in the table.

To identify the 7th chord note names, use the 1st, 3rd, 5th and 7th columns / scale degrees, which are notes E#, G#, B#, and D#.

Identifying the chord quality

To identify the 7th chord quality that has these notes, begin by counting the number of half-tones / semitones between the root and each of the notes.

For the 3rd interval (note 2 on the diagram) the distance between E# and G# is 3 half-tones.

Now look at the complete Note interval table, and identify the note interval that has a distance of 3 half-tones (first column), and with an interval no. of 3 (last column).

The note interval name for the 3rd note / scale degree is therefore minor, also called m3 for short. More details of this interval are at E#-min-3rd.

Repeating this for the 5th note / scale degree, the distance between E# and B# is 7 half-tones, and the note interval name is perfect (P5). More details of this interval are at E#-perf-5th.

Again the 7th note / scale degree, the distance between E# and D# is 10 half-tones, and the note interval name is minor (m7). More details of this interval are at E#-min-7th.

Finally, we have the name of the three note intervals of this 7th chord, and can now lookup the name of the 7th chord quality having these intervals.

Looking at the Seventh chord table, the name of the 7th chord quality having minor(m3), perfect(P5) and minor(m7) note intervals is minor 7th.

And so the complete 7th chord Name prefixes the root note, E#, onto this quality, giving us the E# min 7 chord.

Scale chord names using a,b and c notation

The chord symbol ii could be followed by the letter a to indicate that it is E# minor 7th chord in root position (ie not inverted) - D-sharp mixolydian mode chord iia.

Instead, ii could be followed by the letter b to indicate that it is E# minor 7th chord in 1st inversion - D-sharp mixolydian mode chord iib.

Letter c could be used to indicate that it is E# minor 7th chord in 2nd inversion - D-sharp mixolydian mode chord iic.

Finally, letter d could be used to indicate that it is E# minor 7th chord in 3rd inversion - D-sharp mixolydian mode chord iid.

Scale chord names using figured bass notation

In place of the a-d symbols above, figured bass symbols could be used to indicate chord positions after ii:

So in this key, ii7 refers to the E# minor 7th chord in root position.

For 7th chord inversions, ii65 refers to the E# minor 7th chord in 1st inversion, ii43 refers to the E# minor 7th chord in 2nd inversion, and ii2 refers to the E# minor 7th chord in 3rd inversion.

The next scale chord

The next step will need to calculate the 7th chord whose root / starting note is next mode note.

To do this, the first column we used in this step, E#, will be moved to the final column of the table.

5. 3rd 7th chord in D-sharp mixolydian mode

Identifying the 4 notes in the chord

The table below shows the D-sharp mixolydian mode, ordered to show the 3rd note as the first column in the table.

To identify the 7th chord note names, use the 1st, 3rd, 5th and 7th columns / scale degrees, which are notes F##, A#, C#, and E#.

Identifying the chord quality

To identify the 7th chord quality that has these notes, begin by counting the number of half-tones / semitones between the root and each of the notes.

For the 3rd interval (note 2 on the diagram) the distance between F## and A# is 3 half-tones.

Now look at the complete Note interval table, and identify the note interval that has a distance of 3 half-tones (first column), and with an interval no. of 3 (last column).

The note interval name for the 3rd note / scale degree is therefore minor, also called m3 for short. More details of this interval are at F##-min-3rd.

Repeating this for the 5th note / scale degree, the distance between F## and C# is 6 half-tones, and the note interval name is diminished (d5). More details of this interval are at F##-dim-5th.

Again the 7th note / scale degree, the distance between F## and E# is 10 half-tones, and the note interval name is minor (m7). More details of this interval are at F##-min-7th.

Finally, we have the name of the three note intervals of this 7th chord, and can now lookup the name of the 7th chord quality having these intervals.

Looking at the Seventh chord table, the name of the 7th chord quality having minor(m3), diminished(d5) and minor(m7) note intervals is half-diminished 7th.

And so the complete 7th chord Name prefixes the root note, F##, onto this quality, giving us the F## half-dim7 chord.

Scale chord names using a,b and c notation

The chord symbol iii^ø could be followed by the letter a to indicate that it is F## half-diminished 7th chord in root position (ie not inverted) - D-sharp mixolydian mode chord iii^øa.

Instead, iii^ø could be followed by the letter b to indicate that it is F## half-diminished 7th chord in 1st inversion - D-sharp mixolydian mode chord iii^øb.

Letter c could be used to indicate that it is F## half-diminished 7th chord in 2nd inversion - D-sharp mixolydian mode chord iii^øc.

Finally, letter d could be used to indicate that it is F## half-diminished 7th chord in 3rd inversion - D-sharp mixolydian mode chord iii^ød.

Scale chord names using figured bass notation

In place of the a-d symbols above, figured bass symbols could be used to indicate chord positions after iii^ø:

So in this key, iii^ø7 refers to the F## half-diminished 7th chord in root position.

For 7th chord inversions, iii^ø65 refers to the F## half-diminished 7th chord in 1st inversion, iii^ø43 refers to the F## half-diminished 7th chord in 2nd inversion, and iii^ø2 refers to the F## half-diminished 7th chord in 3rd inversion.

The next scale chord

The next step will need to calculate the 7th chord whose root / starting note is next mode note.

To do this, the first column we used in this step, F##, will be moved to the final column of the table.

6. 4th 7th chord in D-sharp mixolydian mode

Identifying the 4 notes in the chord

The table below shows the D-sharp mixolydian mode, ordered to show the 4th note as the first column in the table.

To identify the 7th chord note names, use the 1st, 3rd, 5th and 7th columns / scale degrees, which are notes G#, B#, D#, and F##.

Identifying the chord quality

To identify the 7th chord quality that has these notes, begin by counting the number of half-tones / semitones between the root and each of the notes.

For the 3rd interval (note 2 on the diagram) the distance between G# and B# is 4 half-tones.

Now look at the complete Note interval table, and identify the note interval that has a distance of 3 half-tones (first column), and with an interval no. of 3 (last column).

The note interval name for the 3rd note / scale degree is therefore major, also called M3 for short. More details of this interval are at G#-maj-3rd.

Repeating this for the 5th note / scale degree, the distance between G# and D# is 7 half-tones, and the note interval name is perfect (P5). More details of this interval are at G#-perf-5th.

Again the 7th note / scale degree, the distance between G# and F## is 11 half-tones, and the note interval name is major (M7). More details of this interval are at G#-maj-7th.

Finally, we have the name of the three note intervals of this 7th chord, and can now lookup the name of the 7th chord quality having these intervals.

Looking at the Seventh chord table, the name of the 7th chord quality having major(M3), perfect(P5) and major(M7) note intervals is major 7th.

And so the complete 7th chord Name prefixes the root note, G#, onto this quality, giving us the G# maj 7 chord.

Scale chord names using a,b and c notation

The chord symbol IV could be followed by the letter a to indicate that it is G# major 7th chord in root position (ie not inverted) - D-sharp mixolydian mode chord IVa.

Instead, IV could be followed by the letter b to indicate that it is G# major 7th chord in 1st inversion - D-sharp mixolydian mode chord IVb.

Letter c could be used to indicate that it is G# major 7th chord in 2nd inversion - D-sharp mixolydian mode chord IVc.

Finally, letter d could be used to indicate that it is G# major 7th chord in 3rd inversion - D-sharp mixolydian mode chord IVd.

Scale chord names using figured bass notation

In place of the a-d symbols above, figured bass symbols could be used to indicate chord positions after IV:

So in this key, IV7 refers to the G# major 7th chord in root position.

For 7th chord inversions, IV65 refers to the G# major 7th chord in 1st inversion, IV43 refers to the G# major 7th chord in 2nd inversion, and IV2 refers to the G# major 7th chord in 3rd inversion.

The next scale chord

The next step will need to calculate the 7th chord whose root / starting note is next mode note.

To do this, the first column we used in this step, G#, will be moved to the final column of the table.

7. 5th 7th chord in D-sharp mixolydian mode

Identifying the 4 notes in the chord

The table below shows the D-sharp mixolydian mode, ordered to show the 5th note as the first column in the table.

To identify the 7th chord note names, use the 1st, 3rd, 5th and 7th columns / scale degrees, which are notes A#, C#, E#, and G#.

Identifying the chord quality

To identify the 7th chord quality that has these notes, begin by counting the number of half-tones / semitones between the root and each of the notes.

For the 3rd interval (note 2 on the diagram) the distance between A# and C# is 3 half-tones.

Now look at the complete Note interval table, and identify the note interval that has a distance of 3 half-tones (first column), and with an interval no. of 3 (last column).

The note interval name for the 3rd note / scale degree is therefore minor, also called m3 for short. More details of this interval are at A#-min-3rd.

Repeating this for the 5th note / scale degree, the distance between A# and E# is 7 half-tones, and the note interval name is perfect (P5). More details of this interval are at A#-perf-5th.

Again the 7th note / scale degree, the distance between A# and G# is 10 half-tones, and the note interval name is minor (m7). More details of this interval are at A#-min-7th.

Finally, we have the name of the three note intervals of this 7th chord, and can now lookup the name of the 7th chord quality having these intervals.

Looking at the Seventh chord table, the name of the 7th chord quality having minor(m3), perfect(P5) and minor(m7) note intervals is minor 7th.

And so the complete 7th chord Name prefixes the root note, A#, onto this quality, giving us the A# min 7 chord.

Scale chord names using a,b and c notation

The chord symbol v could be followed by the letter a to indicate that it is A# minor 7th chord in root position (ie not inverted) - D-sharp mixolydian mode chord va.

Instead, v could be followed by the letter b to indicate that it is A# minor 7th chord in 1st inversion - D-sharp mixolydian mode chord vb.

Letter c could be used to indicate that it is A# minor 7th chord in 2nd inversion - D-sharp mixolydian mode chord vc.

Finally, letter d could be used to indicate that it is A# minor 7th chord in 3rd inversion - D-sharp mixolydian mode chord vd.

Scale chord names using figured bass notation

In place of the a-d symbols above, figured bass symbols could be used to indicate chord positions after v:

So in this key, v7 refers to the A# minor 7th chord in root position.

For 7th chord inversions, v65 refers to the A# minor 7th chord in 1st inversion, v43 refers to the A# minor 7th chord in 2nd inversion, and v2 refers to the A# minor 7th chord in 3rd inversion.

The next scale chord

The next step will need to calculate the 7th chord whose root / starting note is next mode note.

To do this, the first column we used in this step, A#, will be moved to the final column of the table.

8. 6th 7th chord in D-sharp mixolydian mode

Identifying the 4 notes in the chord

The table below shows the D-sharp mixolydian mode, ordered to show the 6th note as the first column in the table.

To identify the 7th chord note names, use the 1st, 3rd, 5th and 7th columns / scale degrees, which are notes B#, D#, F##, and A#.

Identifying the chord quality

To identify the 7th chord quality that has these notes, begin by counting the number of half-tones / semitones between the root and each of the notes.

For the 3rd interval (note 2 on the diagram) the distance between B# and D# is 3 half-tones.

Now look at the complete Note interval table, and identify the note interval that has a distance of 3 half-tones (first column), and with an interval no. of 3 (last column).

The note interval name for the 3rd note / scale degree is therefore minor, also called m3 for short. More details of this interval are at B#-min-3rd.

Repeating this for the 5th note / scale degree, the distance between B# and F## is 7 half-tones, and the note interval name is perfect (P5). More details of this interval are at B#-perf-5th.

Again the 7th note / scale degree, the distance between B# and A# is 10 half-tones, and the note interval name is minor (m7). More details of this interval are at B#-min-7th.

Finally, we have the name of the three note intervals of this 7th chord, and can now lookup the name of the 7th chord quality having these intervals.

Looking at the Seventh chord table, the name of the 7th chord quality having minor(m3), perfect(P5) and minor(m7) note intervals is minor 7th.

And so the complete 7th chord Name prefixes the root note, B#, onto this quality, giving us the B# min 7 chord.

Scale chord names using a,b and c notation

The chord symbol vi could be followed by the letter a to indicate that it is B# minor 7th chord in root position (ie not inverted) - D-sharp mixolydian mode chord via.

Instead, vi could be followed by the letter b to indicate that it is B# minor 7th chord in 1st inversion - D-sharp mixolydian mode chord vib.

Letter c could be used to indicate that it is B# minor 7th chord in 2nd inversion - D-sharp mixolydian mode chord vic.

Finally, letter d could be used to indicate that it is B# minor 7th chord in 3rd inversion - D-sharp mixolydian mode chord vid.

Scale chord names using figured bass notation

In place of the a-d symbols above, figured bass symbols could be used to indicate chord positions after vi:

So in this key, vi7 refers to the B# minor 7th chord in root position.

For 7th chord inversions, vi65 refers to the B# minor 7th chord in 1st inversion, vi43 refers to the B# minor 7th chord in 2nd inversion, and vi2 refers to the B# minor 7th chord in 3rd inversion.

The next scale chord

The next step will need to calculate the 7th chord whose root / starting note is next mode note.

To do this, the first column we used in this step, B#, will be moved to the final column of the table.

9. 7th 7th chord in D-sharp mixolydian mode

Identifying the 4 notes in the chord

The table below shows the D-sharp mixolydian mode, ordered to show the 7th note as the first column in the table.

To identify the 7th chord note names, use the 1st, 3rd, 5th and 7th columns / scale degrees, which are notes C#, E#, G#, and B#.

Identifying the chord quality

To identify the 7th chord quality that has these notes, begin by counting the number of half-tones / semitones between the root and each of the notes.

For the 3rd interval (note 2 on the diagram) the distance between C# and E# is 4 half-tones.

Now look at the complete Note interval table, and identify the note interval that has a distance of 3 half-tones (first column), and with an interval no. of 3 (last column).

The note interval name for the 3rd note / scale degree is therefore major, also called M3 for short. More details of this interval are at C#-maj-3rd.

Repeating this for the 5th note / scale degree, the distance between C# and G# is 7 half-tones, and the note interval name is perfect (P5). More details of this interval are at C#-perf-5th.

Again the 7th note / scale degree, the distance between C# and B# is 11 half-tones, and the note interval name is major (M7). More details of this interval are at C#-maj-7th.

Finally, we have the name of the three note intervals of this 7th chord, and can now lookup the name of the 7th chord quality having these intervals.

Looking at the Seventh chord table, the name of the 7th chord quality having major(M3), perfect(P5) and major(M7) note intervals is major 7th.

And so the complete 7th chord Name prefixes the root note, C#, onto this quality, giving us the C# maj 7 chord.

Scale chord names using a,b and c notation

The chord symbol VII could be followed by the letter a to indicate that it is C# major 7th chord in root position (ie not inverted) - D-sharp mixolydian mode chord VIIa.

Instead, VII could be followed by the letter b to indicate that it is C# major 7th chord in 1st inversion - D-sharp mixolydian mode chord VIIb.

Letter c could be used to indicate that it is C# major 7th chord in 2nd inversion - D-sharp mixolydian mode chord VIIc.

Finally, letter d could be used to indicate that it is C# major 7th chord in 3rd inversion - D-sharp mixolydian mode chord VIId.

Scale chord names using figured bass notation

In place of the a-d symbols above, figured bass symbols could be used to indicate chord positions after VII:

So in this key, VII7 refers to the C# major 7th chord in root position.

For 7th chord inversions, VII65 refers to the C# major 7th chord in 1st inversion, VII43 refers to the C# major 7th chord in 2nd inversion, and VII2 refers to the C# major 7th chord in 3rd inversion.

This completes the set of all 7th chords that harmonize with the D-sharp mixolydian mode.

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