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Make the most of its characteristic sounds, such as the whole tone run and the tritone interval. The whole point of the Lydian mode is that characteristic #4th. If you’ve got an F# instead, you’ve got the combined aggression of a semitone and a tritone dissonance just from that small change. The white notes from C-C make a simple C major scale. For example, you could be playing in a very clear C major with your Fs remaining natural pretty much consistently. To count up a Half-tone (semitone), count up from the last note up by one physical piano key, either white or black. We may link to products if we deem helpful to the reader. Scale degree names 1,2,3,4,5,6, and 8 below are always the same for all modes (ie. F-sharp) or a flat(eg. A mode is, to all intents and purposes, however, basically the same as a key. For all modes, the notes names when descending are just the reverse of the ascending names. If you’re being careful with it, however, the major version of chord II can actually end up giving you some really unique sounds. For example, C Lydian, which is drawn from the G major scale, is written with a key signature of C, implying the plain C major scale. This means that an F Lydian scale is F, G, A, B, C, D, E. Obviously, this is the enharmonic equivalent of C major, so the notes are exactly the same; it’s the way you use the scale that changes things. So assuming octave note 8 has been played in the step above, the notes now descend back to the tonic. This means the C Lydian is made up of the notes C, D, E, F#, G, A, B. This creates a dissonance that popular composers just don’t want. The same thing happens in minor keys, too. However, be aware of the fact that the movement from F#-G can also have the same leading tone feel. For a quick summary of this topic, have a look at Mode. Easy. If the natural white note can be found in the mode note, the mode note is written in the Match? Move towards a more dissonant mode built on flattened notes if that’s the vibe you’re looking for. The most important notes in the F Lydian scale are: While looking at the Lydian mode in its most simple formulation gives us the simplicity of the F, G, A, B, C, D, E scale mentioned above, it isn’t as though the Lydian mode can’t be moved to every single other note. Many Lydian melodies use the mode consistently, but there are times when the occasionally raised fourth simply appears for effect. Most of these are the same as the F Lydian, but with the tonic now C, and that all important tritone being found on the F#. Depending on context, it won’t always sound like this (you could be using the D major as a secondary dominant, for example), but if you’re improvising chords and end up playing that sequence, you could really confuse your band by accidentally taking them into an unexpected new key. The rule ensures that every position of a staff is used once and once only - whether that position be a note in a space, or a note on a line. You’d very rarely see the notes of the mode written out in a key signature, but they’re basically the same thing, just with more possibilities. Of course, I’m not suggesting that you make you piece sound wrong or worse. Despite all of these tips and pointers on how to use the Lydian mode well in your melodies, there is one thing you should always keep in mind: there is no reason you should have to stick to the Lydian mode. As an Amazon Associate we earn from qualifying purchases. Don’t stick to C just because that was our focal point. We’ll now focus the rest of this guide around the C Lydian mode for simplicity, but remember that it can be moved to any note you need via transposition. Its relative major is C major and its parallel major is A major. When I play something, the key signature tells me what key I'm supposed to be in. This can be seen by looking at the Mode table showing all mode names with only white / natural notes used. The dreamy harp sound you always hear is the whole tone scale (a scale that doesn’t use any semitone movement: C, D, E, F#, G#, A#, C). For each of the 7 notes, look across and try to find the white note name in the mode note name. The numbered notes are those that might be used when building this mode.