Originally Posted by: Markus_StoneThanks for the reply, noticingthemistake.

So am I correct in assuming you'd treat the G7 as the tonic chord, and resolve back to it as the root of the mixolydian scale (G), right?

Sort of, but I couldn't honestly answer that because I don't know how you use the tonic chord. It would be yes if you think of chord progressions normally starting on a strong beat with the tonic chord because that's what makes the mode what it is. It's the chord you start with, if it's tonic chord it's either major or minor. If it's another chord like the dominant (V), it's modal. Here's an example of each as a chord progression.

Major (Ionian)
| I | VI | IV | V |

Mixolydian
| V | IV | VI | V |

The first chord on a strong beat sets the mood for the music to come. You can use any chord sequence and it will still sound modal, unless you play a cadence or 5-1 progression, like V-I or any other movement of a fifth. I wouldn't confuse yourself with implying V as I if it's mixolydian, just think of it as starting with the V chord. That should answer the other two questions as well.

If not, let me know.