Quick Scales and Key question (Page 2 of 2)

? How many songs can you give me that is in the key of "G" that has a Bm in them. I can only think of one " Pirates look at 40" by jimmy buffett G-C-G-Am-Bm
I don't think you modes has anything to do with the chords that go with a key. how ever when you play an open "g" chord on the gutiar you  do use an open "b" string

jerome.oneil is giving you examples of individual notes within a particular mode. This is helpful to some but for the common beginner/intermediate sittin' around with a few beers and good friends, talk of  theory regarding verbal application of lydian, myxolidan, aeolian, locrian, etc, etc, etc, rarely comes up. Practical application, in regular dude/gal speak is often much more effective and applicable. I'll attempt to expand;

Bm does go quite nicely with G. Bob Seger's ( Against The Wind) and The Band's( The Weight) are  two prime examples of how nicely Bm flows with G.
Seger-Against The Wind;
G Bm C G D C ( That's the first stanza of the verse progression)
The Band- The Weight ( Take A Load off Fanny)
G Bm C ( verse progression).

Next time you feel like kickin' it around a little with your guitar and  a completely open mind try this progression; Do it slow, do it fast do it however you 'unt to.
G Am Bm C D Em F G

and then this one;
E F#m G#m A B C#m D#+( X 6 7 8 0 0)really cool chord! E

and one more to fardle around with;
A Bm C#m D E F#m G A

I guess what I'm tryin' to say, and I'm paraphrasing, is this;
It's yo thang, do whatch ya wanna do.........

Just have fun  and stay loose...

And if you need a great reference tool for chords I highly recommend this;
http://www.all-guitar-chords.com/

Peace and Guitars,
SouthPaw41L

For the guy who said it's your thing, that is kinda a yes and a no.
There are rules of the road that need to be followed, or you play something that sounds like a train wreck. Theory is like learning to spell. After you have master spelling then you can start writing your book on what ever subject you want. (ect blues, country rock)
To be more plain spoken just because you are per say writing a song,you just can't use any ol chord or just the ones that you can make or for the beginner what just sounds good to you. Because what you might think sounds great does not sound that a way to other people that has been playing longer. Also as you start playing out and sitting in with bands there is a protocol that you will be expected follow.

The modes are exactly how those chords are derived. 

Lets use your example again, mixolydian over dominant 7s.

Why is it you suppose mixolydian sounds so good over a dom7 chord?  It's because the dominant 7 chord is what you get if you add that seventh from the modal scale, just like I demonstrated above.

G mixolydian (and G7) is derived from C major (or Ionian, in modal vernacular).   G is the V of that scale  and the two modes share the exact same key signature.

C Ionian        = C D E F G A B C
G myxolydian = G A B C D E F G

G7 is   the I  III  V  and VII of the G mixolydian scale, G  B  D   F.    That's why the scale works over that chord.  It makes use of the same notes as found in the modal scale.  They didn't just make it up to play over dom7.  Instead,   dom7 is derived from it.

If you know your modal scales, you'll never have to guess at how to construct a chord, nor will you ever have to guess at what scale to play over what chord progression in any song.  Those seven modal scales make up the very foundation of music.