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

Contents 1 Greek Lydian mode 2 Medieval and modern Lydian mode 2.1 Notable songs in Lydian mode 3 External Links

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.

The early Christian church developed a system of eight musical modes (the octoechos), which medieval 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, is 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)

Care must be exercised in identifying songs or pieces based in Lydian mode. It is common for listeners to confuse Lydian mode, particularly at the beginning of a piece, with an extended section based on the IV chord of a major key (or, less commonly, a flat VI chord in a minor key).

A good example of this ambiguity of Lydian mode can be found in the song "Maria" by Leonard Bernstein and Stephen Sondheim from the musical West Side Story; the opening measures of the main theme (E-flat, A, B-flat) could indicate E-flat Lydian mode, but the following four measures clearly establish B-flat major. By the time the E-flat-A-B-flat motive appears again in measure six, we are clearly hearing a IV chord in B-flat major rather than a chord built on the tonic of E-flat Lydian.

That said, the main theme and the song do cadence clearly to an E-flat major chord - although, in both cases, an A-flat (rather than the defining Lydian A-natural) is prominently featured in the penultimate chord.

On the other hand, it could be argued that a piece of music that follows this sort of pattern is actually fluctuating between Lydian mode and major tonality. For instance, in "Here Come My Girl" by Tom Petty each verse alternates between a D-flat major and E-flat major chord, with a D-flat pedal tone maintaining the impression that D-flat is tonic, and a repeated guitar lick frequently hitting the essential raised fourth scale degree--G-natural, in this case. This gives the verses a distinctly Lydian flavor. But in the chorus sections of the song, the tonality clearly shifts to A-flat major. This pattern is fairly common in pop music. Whether to say these songs are shifting between Lydian and major tonality, or simply extending the IV chord in major tonality, is somewhat open to interpretation.

• "Eden" by Hooverphonic All the song is in C lydian.

• The "To Kill a Mockingbird" score by Elmer Bernstein features the lydian mode extensively to evoke feelings of childish wonder.

• "Freewill" by Rush. A claim could be made that the verse is in F Lydian, though strong presence of C, E and G in the verse melody (together with the firm establishment of C major in the chorus) would indicate that the verse is just an extended IV chord in C major.

• "Man on the Moon" by R.E.M. The verses to the song are in C Lydian; the prechorus switches to G major.

• "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.

• "The Riddle" by Steve Vai; Lydian Augmented is also used.

• "Overture 1928" by Dream Theater; the section at 1:01 begins with a Lydian tetrachord.

• "Escaping" by Kiko Loureiro the outro in particular.

• "If There Was a Time" by Harem Scarem.

• "Midnight Daydream" by Steve Morse.

• "Stars" by Switchfoot

• "Inner Road" by Adagio the solo in particular.

• "The Battle" by Hydrogen Party

• "Accolade" by Symphony X.

• "Elation Station" by Infected Mushroom is in C lydian.

• "Gymnopédie No. 1" by Erik Satie; contrary to what was previously mentioned here, is not in G Lydian. The root note is D, even though the piece starts with a G, and it is therefore in D Ionian.

• "Opened Once" and "Gunshot Glitter" by Jeff Buckley

• "Watching the Boats with My Dad" by Buckethead

• "Beyond the Boundaries" by Jimmy Cliff
• "Lydian Lilt" by Russel Pattison

• "Unravel" by Björk
• "K'm-pee-du-wee" by Steve Vai is in E lydian
• "Follow My Way " by Chris Cornell is exclusively in the Lydian mode.
• "Arcane Lifeforce Mysteria by Dimmu Borgir starts in the lydian mode.

• "Waltz #1" by Elliott Smith.
• "Little Red Corvette" by Prince.
• "Lydian Suite" by Michael Horvit.
• "The One" by Elton John shifts between Lydian and major.
• "Momentum" by Vienna Teng shifts between Lydian and major.
• "Melody of You" by Sixpence None the Richer shifts between Lydian and major.

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)