Remember, music is not just a nice tune you hear on the radio, but a language, mathematics, and a science (hence the name, music theory). So, like all of those disciplines, sometimes we get a little fuzzy in our discussions about what we're exactly talking about -- especially when people are at differing levels of education or proficiency.
Back to my last post. I began discussing it with a friend who is a guitarist and they felt that you would actually interpret the "Cmix" chord to be played as if you were in the F scale and then transpose to the mixolydian mode. This confused me a great deal. In fact, everything he said confused me more and more the more he talked.
So, I asked some friends. Some thought they knew. Others didn't have a clue. So, I turned to the internet and I found the homepage of one of the authors of the book that I've been studying out of:
Not only did I get a prompt reply from Mr. Richard Sussman, but he was very kind and courteous. He explained that yes, I did have the correct conclusion, that a "Cmix" chord was the Mixolydian Mode beginning on C (or C scale, if you like). Here's his direct response:
"Generally in jazz chord nomenclature, if you designate a mode such as C mix, G dorian, F phryg, etc. you’re not indicating a specific voicing, but rather that you can improvise using any notes of the designated mode built on the indicated key, for example a mixolydian mode starting on C, etc."
But what of my friend the guitarist? We will have to have further discussions, because it's a concept that seems to be confusing many musicians and certainly I don't want to be misinformed, but I don't want to lead others down the yellow brick road of mental gymnastics that leaves you baffled and no closer to answers. But I'm thankful to him for making me dig deeper. This has certainly helped me.
No harm. No foul. I'm grateful for all the lessons - from my friends and Mr. Sussman.
Never stop learning!!!