Lydian mode

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Due to historical confusion, Lydian mode can refer to two very different musical modes or diatonic scales.

Contents

[edit] Greek Lydian mode

The Lydian mode is named after the ancient kingdom of Lydia in Anatolia. In Greek music theory it was based on the Lydian tetrachord: descending (the way the Greeks always wrote about it), a series of falling intervals of a semitone followed by two whole tones. Applied to a whole octave, the Lydian mode was built upon two Lydian tetrachords separated by a whole tone. This is identical to the modern major mode: C D E F | G A B C (ascending, in the modern reckoning). Placing the two tetrachords together, and the single tone at bottom of the scale produces the Hypolydian mode (below Lydian): F | G A B C | (C) D E F. Placing the two tetrachords together, and the single tone at the top of the scale produces the Hyperlydian mode (above Lydian), which is effectively the same as the Hypophrygian mode: G A B C | (C) D E F | G. Confusingly, the Greek Lydian mode is the same as the mediaeval and modern Ionian mode or major mode.

[edit] Medieval and modern Lydian mode

The early Christian church developed a system of eight musical modes (the octoechos), which mediaeval music scholars related to the ancient Greek modes. misinterpreting the Latin texts of Boethius, mediaeval modes were given the wrong Greek names. Thus, in mediaeval and modern music, the Lydian mode may be considered a major scale with the fourth scale degree of the scale played a semitone higher than it would be in the major scale. The mediaeval and modern Lydian mode is the same as the Greek Hypolydian mode.

A Lydian scale based on the note C consists of the notes C D E F# G A and B. Alternatively, if we start on the note F, the scale consists of the notes F G A B C D E. This scale can be played on the white notes of a piano without the use of any sharps or flats (black keys) only if started on the note F (F G A B C D E).

The theme tunes for The Simpsons and The Jetsons are often cited as examples of melodies written using the Lydian scale; it should be noted however that the former theme is in reality based on the more obscure Lydian Dominant mode, derived from the melodic minor scale and differing from the standard Lydian mode in that its seventh degree is flatted.

The Lydian Dominant Mode, the fifth mode of the modern Lydian mode, can also be found to be contained within the natural overtones or harmonics produced by a single note. If you play a single sustained low C on a piano you may be able to hear a few overtones. In order from lowest to highest these tones are C G C E G Bb C D E F# G A Bb B C (producing, in C major the I, V, I, III, V, bVII, I, II, III, #IV, V, VI, bVII, VII and I). You may notice that F# and Bb are contained within the Lydian Dominant Mode (as the sharpened fourth and flattened seventh respectively). The overtone series is actually the manner in which brass instruments (among others) play different pitches.

Modern usage of Lydian mode is often implied by certain chord spellings. For example, the chords D/C or Cmaj7#11 imply a C Lydian harmony. (D/C7 or C7#11 would both imply the lydian dominant scale, which is the same as lydian but with a flat 7th note)

[edit] Notable songs in Lydian mode

  • The "To Kill a Mockingbird" score by Elmer Bernstein features the lydian mode extensively to evoke feelings of childish wonder.
  • "Freewill" by Rush The song is in F Lydian mode.
  • "Man on the Moon" by R.E.M. The verses to the song are in C Lydian; the prechorus switches to G Ionian.
  • "Dancing Days" by Led Zeppelin. The notable guitar intro is in the Lydian Mode. The rest of the song uses a variety of modes and chromaticism.
  • "Flying in a Blue Dream" by Joe Satriani is almost exclusively in the Lydian mode. Much of his other work includes Lydian as well.
  • "If There Was a Time" by Harem Scarem.
  • "Inner Road" by Adagio the solo in particular.
  • "Gymnopédie No. 1" by Erik Satie; the first 20 measures are in G Lydian.

[edit] External Links

Lydian mode in six positions for guitar at GOSK.com


Modes of the diatonic scale edit
Lydian (IV) | Ionian (I) | Mixolydian (V)
Dorian (II) | Aeolian (VI) | Phrygian (III) | Locrian (VII)


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