How to use the lydian mode to make chords and progressions 

All 7 Modes Are Here 👉👉ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-C93lMKsE1f8.html

I wish I would've found this video years ago, it took me FOREVER to get Lydian songs to not sound like the Ionian they are built from. Great stuff.

I'm back, because I'm trying to write a BRIDGE in B-flat Lydian. I accidentally stumbled upon a great chord transition! I went from 1 to 4, which is B-flat MAJ to E-diminished. It sounded so awesome! I checked the chords in B-flat Lydian & the E-diminished is the 4 chord. It happened by accident, because I was trying to play a different chord. You could also argue that I'm going from B-flat to C7. The only difference is the BASS note is a C instead of E. A THIRD option is to play an E°/B-flat. So right now, I'm trying to figure out which bass note to play (out of 3 notes) with the E° chord. All three sound great!

First time I ever understood anything useful about modes. I have been wanting to learn this for 20 years 😀 thanks

I watched half a dozen videos on the lydian scale. This one was of the most practical utility.

Definitely important to add the #4 to the V chord in order to avoid any confusions with the major scale! Thank you for the tip. With a regular V chord, my ear naturally drifts away to the major scale, unless a lead phrasing is being played in Lydian.

Lydian has a beautiful cinematic sound. Thank you for this topic :)

In the last song I wrote & recorded ("A Simpler Time"), the chorus is in G Lydian. In fact, the first 4 notes in every other line of the chorus are just the first 4 notes of G Lydian. 😃

Great content. Establishing the tonal center (ie: the 'tonic') in C Lydian or G Major is really important since they share the exact same notes, and you explained that very well here. Although not mentioned, the same applies for E Minor. Your channel is a great resource and I have subscribed.

Not only is the video great, but the comments down below are also great. TY guys.

Very simple and to the point. Very good.

Those examples with the V chord were great! I felt that the First and the third shifted the tonal center to major, while the second didn't. However, changing the V to Vmaj7 in the I I II V progression really helped to keep the lydian tonal center

Gracias, maestro!,

Another thing I've notice when composing in modes, is that how your melody moves also influences in the mode's feeling. For example, in Lydian, it's better for you to move from 3 to #4 if you are in the tonic, especially if the 3 is in a strong beat. This move doesn't exist anywhere but lydian, so it immediately sounds like lydian, even in another mode. Another move is 5-#4 without resolving back to 5, to bring attention to that tritone that won't be resolved. BTW, the same sequence of notes can sound Locrian when descending, when on a diminished chord. Many times when I was composing in Lydian, I noticed a "sinister" run and it was because I outlined a descending diminished chord with my notes. That's why I usually don't descend to 1 by step when composing in Lydian, I prefer downward leaps or playing the two neighbors, especially the leading tone, when I want to resolve to 1. This feeling is different if you have #4s but you aren't in Lydian. Fore example, in Dorian #4, the best way to sound like the mode is to go to 6-5-#4 in tonic minor chord. It immediately sounds like Dorian #4. If you rely too much on the b3-#4, you might sound like other modes like Harmonic Minor or Phrygian Dominant. In Hungarian Minor, it's the chromatic run from b6-5-#4, but emphasizing the 5's role in the chord, which you shouldn't do in Lydian that much since you might lose the Lydian feel since your tritone shouldn't be resolved. In Lydian #2, which is one of my favorite modes, the run from #2-3-#4-5 sounds so uniquely Lydian #2 that no chord can come closer to bring the same feel, so I usually incorporate this run or a variation of it in my voice-leading with the chords, especially on the tonic chord. You can literally stay in the tonic chord in Lydian #2 forever, and just rely on the many possible I chords there.

Thanks

Merci for this. I just started studying the modes, and many lessons assume advanced training already. This was very well explained.

Excellent didactics!

Fantastic information

Good stuff. Just subscribed. Thanks

I am working on a song in Lydian now... I think the key with any non Ionian composition is to avoid that Ionian V-I cadence. Especially in jazz with the tritone

Nice one sir

For what it's worth, any one of these progressions demonstrated that contains the iii (em) sound like they're in E minor; not C lydian. E feels like home every time, so I don't feel that floating nature of lydian at all.

5:13 this is VI - VII - I - VII from Aeolian

IV is a half diminished chord i

fact: the only chord progression you need to know is major chord progression, the reason for this is once you know C major scale and its chord progression you can use it into the seven modes, for chords if you start in the second chord of major you get dorian chords, 3rd chord get you into phrygian, 4th into lydian, 5th into mixiolydian, 6th is minor and 7th get you the locrian sound, if you do the same with scales you get the same result, the only thing that makes you get the sound of every mode is one note that you need to use to emphatize that sound of every mode in dorian is the 6th note, phrygian is the second, lydian is the 4th, miciolydian is the 7th and locrian is the 5th

Fresh

6:27 in this progression, in my head I keep thinking that the root/ key is the E minor not the C.

I guess in order to determine the tonal center between two keys (for example C Lydian and G Ionian), the focus should rather be on the notes of the melody and particularly the notes on each chord, otherwise - as shown in the video - since some chords are shared between the two scales, there’d be a lot of confusion on the actual key of the piece of music.

Im looking for songs or exercises,with this progressions: ii-V-iii ii-V-vi IV-V-iii IV-V-vi ii-viio-iii ii-viio-vi IV-viio-iii IV-viio-vi :)

Probably 90% of MathRock bands use Lydian (Western and Eastern).

The problem I have with this is that some of the progressions sound like if the key is Em. Some of these examples and other progressions I tried share the same problem. How to effectively avoid that?

Wouldn’t the C Lydian be the same as G major rearranged.

Next mexolydian

I'm sorry but you have lots of false information here. C-D-Em is NOT lydian sequence but E-aolian. Also the VII in C-major is Bmb5 (Half diminished), NOT Bm. I suggest you study a LOT more before posting any more videos.