1 Resist the "pull" of the major scale: a Avoid playing the natural 4 chord b Avoid the V chord and the 5th note (for a long time) 2 You can use the 1 note as a pedal chord to establish the root 3 4th minor chard flat 5 works well 4 It's better to limit yourself to just a few notes - it sounds better and more characteristic Typical Lydian Chord Progressions: 1. I-II 2. IV-III/bIIV-II with I as the base Scales You can use: 1 VII minor penta: 7-2-3-4-6 2 VII Hirajoshi: 7-1-3-4-5
This is hands down the best lesson on lydian mode. i was just thinking what chord progression makes the lydian mode sound 'lydian'. So extra thanks for the lesson
Yeah I been working on music theory with rhythms. My issue I created a lydian scale come to find out it was a g#m chord set. E f# d#m and g#m7 thought I was getting better. I put a lydian arpeggio to it and it sounded weird but this is a huge progression. Lydian is meant to keep base tone in it. Simple very informative for the mode.
The best lesson I ever heard about this scale, most of the people just explain the scale, but never the posible armonies that you can get with it, which is the really important. Congratulations!
Music theory can be so complex. Amazing how 12 notes can provide all these different concepts and feelings. I wish my music teacher could have been as enthusiastic in presenting these concepts in a straight forward style. Thank you for a great lesson helping me in my preparation of an upcoming Lydian guitar scale and solo lesson.
Is it just me or does anyone else feel you learn more this way.. as opposed to someone looking at the camera teaching through conversation and a guitar where you either gotta look where their fingers are you they gotta explain where they are.. (3rd finger G string 4th fret) Its wasting more time beating around the Bush. These visuals answer your questions pretty much as soon as you have one and he demonstrates the sound straight away rather than waffle on. Very good. Sadly it doesnt get more subscribers like the rest.
Every time I watch one of these videos I go away and end up writing a new song, the way you teach is just make s it so easy to assimilate into my playing- thank you
This was a great lesson. Doing this for each of the church modes would be awesome. Perhaps even branching into the modes of the double harmonic would be interesting too. I love Rick Beato's videos but they can get... dense. Your approach is a great augmentation to his work. You are clear, your information is practical and your style is enjoyable to follow.
I loved Beato's videos, but he never explained things quite as clearly, and he's a dick for banning people for the most absurd reasons. One guy got banned for typing the word _Thicc_ in a "weird text" (referring to the tone in an appreciative way). Another was when he banned one subscriber and threatened to ban a few more of us just for talking to each other in a live stream chat, instead of *only* asking him questions. This was while he was playing the guitar for like 4 - 5 minutes and ignoring the chat. That was the day I unsubscribed. Too bad, because Rick knows a lot of great stuff, but I refuse to support anyone who through their utter lack of self awareness mistreats others so badly, especially when those they mistreat are their own fans.
I love the pace that this guy moves at. I might be backing that red bar up a few times during the 10 minute video, but it’s much better than super slow talk where I have to keep sliding the red bar AHEAD all the time!
Nice and helpful video. particularly about the tips on which chords and chord progressions, and the G#min pentatonic that can be used. thank you! I will look forward to similar videos on other modes (of the major, harmonic and melodic minor scales).
I am so happy you mention Hirajoshi. My favorite alternative to western pentatonic. Where minor pentatonic left out some notes, hirajoshi is all the missing ones. Love ya Tomasso 🤘🤘
This video shows what I've been searching for in countless other videos for years! This is the thing! Why don't they all just tell you this first! Straight to the point, no fluff, and it tells you the all-important WHY!!! Thank you so much!
8:21 ! Such a Wonderful advice, I was working a lydian chord progression and I didn't think about doing a pentatonic shape on the Major 7th degree, thanks you so much !
Such an illuminating lesson! Grazie molto, Maestro. You have fully explained the nature of the black hole which has been unsettling my Lydian progressions, the E major or E major7 chord. And you have inspired me to sign up for your Master of Modes course.
Ok this was awesome it kind of answered a question I have had for a very long time. Not on the Lydian scale while that was good too, but the Minor Pentatonic use. For years I have wondered and asked several people about the Minor Pentatonic fits over the major scale in 3 places. Dorian, Phrygian and of course Aeolian. But I have never figured out on my own and never found anyone else that could tell me uses for it going over Dorian and Phrygian. Which this makes perfect sense as a use for it in Phrygian to go over over Lydian as you avoid the E Major sound. You know if you're looking for another topic, Minor Pentatonic over the Major Scale in Dorian and Phrygian would not make me upset in any way. Many of your videos unlock different gaps or holes in my music theory knowledge, which is why I love your channel so much and this was one that I have given a lot of through too for couple years actually but never found a real answer to. Thanks for doing what you do.
This lesson is very useful. I always have difficulties with unlocking the sound of the lydian mode and other modes without sounding like I was playing in a major key.
Excellent video! I’ve always didn’t engage with Lydian because it’s complicated Harmony, but now to made it easier at least for me, and you showed me some brilliant beautiful ways to use it. Thank you!
Earlier I used to follow the sequence of modes like in A I would have played the lydian scale...then in b I would have played the mixolydian scale....n so on...this makes a lot of sense now... youtube has made life easy for sure 👍👍..thanks
Nice that you mentioned using G# pentatonic scale. I like to shift back and forth between the G# pentatonic and the C# pentatonic when playing A lydian.
Tommaso! I'm actually working on a tune that floats between lydian and natural minor. Love these lessons, sir! Show these folks why lydian is one of the coolest sounds in music.
I always love your suggestions for progression and leads. I don't know of another Rabbi that consistently points out the chords and notes that either squeeze the juice from the various modes or are problematic. Would love an overview of the modes that does that, if you are looking for suggestions.
echo what so many other comments said: I could have done the math on the Lydian scale, but after this, I can go compose and play something that SOUNDS Lydian. Starting with F, because I'm barely beginning at the keyboard and white notes are easier, but once I'm Lydian-ing all over the keyboard, perhaps I'll find your videos on the other modes (you DID make videos for the other modes, yes?)
PERFECT! Accurately displayed... Nothing to add. I have a somewhat interesting request for Tomasso. We do have some scales which are equivalent to 'Thaats' and some 'Ragas' in India. However there is one Raga to which I don't think there is any scale in western, and I guarantee you a super exciting sound. I will just state the notes with C as root: C C# E F# G G# B . Plz reply me Tomasso if u like this sound and will do a video on this. So far I have found no one which has treated this scale in the Western approach. ;-)
I want to take your master of the modes course and I'm not even a guitar player. I wish there was such a course for keyboard players. Of course I could take up guitar, but really I'm too old and just about to go buy a new keyboard. Thank you so much for your great videos
You can consider my other course, complete chord mastery. Write me at tommaso@musictheoryforguitar.com so we can make sure it's the right course for you (it really depends what you want to learn)
Yea. I've been basically _targeting_ the sharp four a bit more aggressively to get around that. This explanation of how the harmony works is a great help.
Instead of targeting the sharp 4, target the tonic note (C) to keep the sound of the mode and make it clear where "home" is. Also, keep the tonic note as a pedal tone in your chord progressions and focusing on the I-II progression
Always know it’s going to be good when I see you post a new video! Could you do a video on 6th chords? And 6/9, etc. I’m curious how many different 6th chords there are (like is there minor/major?) and their uses (like I know the m6 chord gets used on the IV)
Great lesson. If you were to start adding upper extensions to the chords should we always stay clear from Dominant 7 so B7 in your example ? Will that break the Lydian as it will always want to resolve back to its parent scale? Are there any other extensions we should avoid?
Nice..in Indian music this scale is known as mecha Kalyani..various modes are there like,Kalyani,yamuna Kalyani,poorvaKalyan,hameer Kalyan,yaman...etc...just listen some Indian music based on Kalyani raaga..you get all the exotic colours of the lydian scale more than western.
Bravo Tommaso! Always good content and easy to follow. Is this the same scale used in chanson ballade by guillaume de machaut? (l'almanacco del giorno dopo)
Great content here! So if you make a modal chord progression in lydian, is it true that the less chords the better? I've seen a couple modal harmony videos if I remember right saying that you don't want to add too many chords to the progression. I feel like I need at least 3 chords to make a good chord progression, otherwise it will be either boring or drony? Maybe 2 chords is enough for lydian?
I LOVE your videos!!! I watch at least a couple every week. But the only way I can do modes and not get confused is: "A" is the 4th of "E", so I play an "E" scale starting on "A", and I have "A" Lydian. I can't remember all of the raised this and flatted that. A Dorian scale is the 2nd mode. "F#" is the 2nd of "E" so, an "E" scale started on "F#" is simple to remember. In "C" an "E" is the 3rd note... Phrygian is the 3rd mode, so, a "C" scale started on "E" is an "E Phrygian Scale". Sorry, that's just how my brain works. Thank You for your excellent videos. I only have trouble with modes, so I have to think about them differently. Any suggestions?
It would probably be easier to remember the flats and sharps ("accidentals") if you build the scale on the C note; they really jump out at you then. C Lydian is C-D-E-F#-G-A-B, so it's a major (Ionic) scale with the 4 raised, and the other notes staying the same.
@@christopherheckman5392 Thank you. I sincerely appreciate your reply. I guess the old adage is true, "You can't teach an old dog new tricks. I've been playing since 1963, and the split second that I saw the notes you wrote out, I said, that's a "G" scale. I guess I'll always see it that way, but it works for me. I was playing modes long before I ever even heard the term "modes". I just knew the sound I wanted. When I tried to understand it the way someone tried to show me, I just got confused and frustrated, while at the same time, I could sit down and play them without thinking of them as a "different" scale. I guess the other adage is true as well, "Whatever works." Thank you, again. I DO appreciate your response.
@ Gumbi, you are not the only one, the confusion you have is common. There is not a short answer - I actually dedicate a few sessions in my course Master of the Modes www.musictheoryforguitar.com/scalesandmodesguitarlessons.html precisely to explain how to 'think' about the modes. This is to say: it's not hard, it's just LONG to explain, and once you get it it's quite easy.
@@MusicTheoryForGuitar Thank You! Actually, it IS quite easy. As I replied to someone else, I've been thinking about it the way I do for 57 years, and I was playing in "modes" long before I ever even heard the term. I just knew how I wanted it to sound. It works very well for me. I thought perhaps there was someone else who was struggling with it that might find it easier to think of the way this "old dog" thinks about it. Thank You! I do THOROUGHLY enjoy your lessons, and I've learned a LOT from them. Modes just seems to be the only thing I seem "set in my ways" about... because it works.
Ah, but what if we play the V as a dom7 chord? That would've been cool to see you break your own suggestion. I am actually going to try this later in Chordbot.
Great video. Of all the modes, it is the lydian and mixolydian that are the most confusing to me. Typical chords progression in lydian is I-II which is F- G in F lydian. Typical chords progression in mixolydian is I-VII which is G-F in F mixolydian... how can you really distinguish them?
Lydian has long baffled me, and now I see that attempting tonic-dominant harmony is the problem. What a paradox it is that (ignoring Locrian) the other mode for which this is true is the darkest, i.e. Phrygian, with its diminished dominant chord.
The progression "A, B, C#m, G#m7" is in the key of A Lydian or E major? There is no E chord in this progression, but this progression resolves way better in A.
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
Solo tips at the end are pure fire
1 Resist the "pull" of the major scale:
a Avoid playing the natural 4 chord
b Avoid the V chord and the 5th note (for a long time)
2 You can use the 1 note as a pedal chord to establish the root
3 4th minor chard flat 5 works well
4 It's better to limit yourself to just a few notes - it sounds better and more characteristic
Typical Lydian Chord Progressions:
1. I-II
2. IV-III/bIIV-II with I as the base
Scales You can use:
1 VII minor penta: 7-2-3-4-6
2 VII Hirajoshi: 7-1-3-4-5
Tomasso! You drop so much knowledge that I hurt my back picking it all up! Your work here is priceless.
Always stretch before doing any heavy lifting, lols.
so true! 🍀👍🏻🍀
This is hands down the best lesson on lydian mode. i was just thinking what chord progression makes the lydian mode sound 'lydian'. So extra thanks for the lesson
He's definitely one of the best on the Internet with his theory.
Yeah I been working on music theory with rhythms. My issue I created a lydian scale come to find out it was a g#m chord set. E f# d#m and g#m7 thought I was getting better. I put a lydian arpeggio to it and it sounded weird but this is a huge progression. Lydian is meant to keep base tone in it. Simple very informative for the mode.
The best lesson I ever heard about this scale, most of the people just explain the scale, but never the posible armonies that you can get with it, which is the really important. Congratulations!
Thank for explaining so well how the harmony works. Knowing why not to play the Major V chord in lydian alone is invaluable.
Music theory can be so complex. Amazing how 12 notes can provide all these different concepts and feelings. I wish my music teacher could have been as enthusiastic in presenting these concepts in a straight forward style. Thank you for a great lesson helping me in my preparation of an upcoming Lydian guitar scale and solo lesson.
Great lesson. I really appreciate the blend of practical application and supporting theory. The whiteboard explanations are remarkably clear. Cheers!
Is it just me or does anyone else feel you learn more this way.. as opposed to someone looking at the camera teaching through conversation and a guitar where you either gotta look where their fingers are you they gotta explain where they are.. (3rd finger G string 4th fret)
Its wasting more time beating around the Bush. These visuals answer your questions pretty much as soon as you have one and he demonstrates the sound straight away rather than waffle on.
Very good. Sadly it doesnt get more subscribers like the rest.
Every time I watch one of these videos I go away and end up writing a new song, the way you teach is just make s it so easy to assimilate into my playing- thank you
This was a great lesson. Doing this for each of the church modes would be awesome. Perhaps even branching into the modes of the double harmonic would be interesting too. I love Rick Beato's videos but they can get... dense. Your approach is a great augmentation to his work. You are clear, your information is practical and your style is enjoyable to follow.
I loved Beato's videos, but he never explained things quite as clearly, and he's a dick for banning people for the most absurd reasons. One guy got banned for typing the word _Thicc_ in a "weird text" (referring to the tone in an appreciative way). Another was when he banned one subscriber and threatened to ban a few more of us just for talking to each other in a live stream chat, instead of *only* asking him questions. This was while he was playing the guitar for like 4 - 5 minutes and ignoring the chat. That was the day I unsubscribed. Too bad, because Rick knows a lot of great stuff, but I refuse to support anyone who through their utter lack of self awareness mistreats others so badly, especially when those they mistreat are their own fans.
@@aylbdrmadison1051 wow, for real? I love Rick's stuff and never knew he acted in this manner. Bummer man.
I love the pace that this guy moves at. I might be backing that red bar up a few times during the 10 minute video, but it’s much better than super slow talk where I have to keep sliding the red bar AHEAD all the time!
Nice and helpful video. particularly about the tips on which chords and chord progressions, and the G#min pentatonic that can be used. thank you! I will look forward to similar videos on other modes (of the major, harmonic and melodic minor scales).
I am so happy you mention Hirajoshi. My favorite alternative to western pentatonic.
Where minor pentatonic left out some notes, hirajoshi is all the missing ones. Love ya Tomasso 🤘🤘
Thank you so much dude!! I don't see people covering the chords within modes. This helped my writing alot!!
This video shows what I've been searching for in countless other videos for years! This is the thing! Why don't they all just tell you this first! Straight to the point, no fluff, and it tells you the all-important WHY!!! Thank you so much!
Violinist not guitarist but completely understood and took two pages of notes thank you so much
8:21 ! Such a Wonderful advice, I was working a lydian chord progression and I didn't think about doing a pentatonic shape on the Major 7th degree, thanks you so much !
Such an illuminating lesson! Grazie molto, Maestro. You have fully explained the nature of the black hole which has been unsettling my Lydian progressions, the E major or E major7 chord. And you have inspired me to sign up for your Master of Modes course.
Ok this was awesome it kind of answered a question I have had for a very long time. Not on the Lydian scale while that was good too, but the Minor Pentatonic use. For years I have wondered and asked several people about the Minor Pentatonic fits over the major scale in 3 places. Dorian, Phrygian and of course Aeolian. But I have never figured out on my own and never found anyone else that could tell me uses for it going over Dorian and Phrygian. Which this makes perfect sense as a use for it in Phrygian to go over over Lydian as you avoid the E Major sound. You know if you're looking for another topic, Minor Pentatonic over the Major Scale in Dorian and Phrygian would not make me upset in any way. Many of your videos unlock different gaps or holes in my music theory knowledge, which is why I love your channel so much and this was one that I have given a lot of through too for couple years actually but never found a real answer to. Thanks for doing what you do.
DAMN!!!! DUDE!!!!! As a keyboard player former guitarist this is a gem. Thank you!!! So much!!!!
This lesson is very useful. I always have difficulties with unlocking the sound of the lydian mode and other modes without sounding like I was playing in a major key.
How many of you noticed the subtle pun introduced at 7:07?
I learned and laughed at the same time. You sir, are a genius!!
Excellent video!
I’ve always didn’t engage with Lydian because it’s complicated Harmony, but now to made it easier at least for me, and you showed me some brilliant beautiful ways to use it. Thank you!
Best video I've watched in ages!! Please do one video for every mode!!!
He's done a few modes already. ruclips.net/user/MusicTheoryForGuitarvideos
Maaan, I´ve been digging your lessons on using the modes and so far this has been more helpful than a lot of my theory classes. Thank you a lot!!!
Best tutorial - what I struggled with for years is now clear thanks to this video. You are incredible please keep up the amazing work.
Earlier I used to follow the sequence of modes like in A I would have played the lydian scale...then in b I would have played the mixolydian scale....n so on...this makes a lot of sense now... youtube has made life easy for sure 👍👍..thanks
Very well done. Thank you for the clear and concise lesson. The practical application is incredibly helpful. Looking forward to the next video!
Love how the lessons wind up with a simple way of applying the scale to a couple of triads. SUBSCRIBED!
Very informative video.....Plz Make for other modes too❤️
best lesson ever. You are great sir. I was facing this issue for a very long time. Thank you so much!
Oh my! Such a wonderfull lesson filled with important information. Tested, it works. Thank you so much.
Nice that you mentioned using G# pentatonic scale. I like to shift back and forth between the G# pentatonic and the C# pentatonic when playing A lydian.
That works too :)
Incredible lesson! This was super helpful, I can’t wait to give it a try!!
Tommaso! I'm actually working on a tune that floats between lydian and natural minor. Love these lessons, sir!
Show these folks why lydian is one of the coolest sounds in music.
You are experimenting with light and darkness... I'm sure it must be beautiful
You might like dorian 4#
@@TedBoyRomarino I'll check it out. I haven't played with that yet. Thanks for the suggestion.
@@frenchiesfrankieandhenry If you ask, Tommaso might do a video on that scale. 8-)
Dorian #4 is on the list, yes :)
I always love your suggestions for progression and leads. I don't know of another Rabbi that consistently points out the chords and notes that either squeeze the juice from the various modes or are problematic. Would love an overview of the modes that does that, if you are looking for suggestions.
Thank you Tomasso for all your clear videos! For the reccord: the Hirajoshi scale was in C#, not in G#
It has these notes: 1 2 b3 5 b6
You're right! I was thinking of 1 b2 4 5 b6...
Fantastic, Tomasso. We owe you so much
Hey, thanks for this❤
Very good note with hiraioshi over lydian. Hadnt though of that idea even though i knew both lyd and hira. Sounds very nice indeed!
Awesome,
Harmonised lydian chords ala John Schofield tuition video pushes the lydian sound immensely! Please show us Master!
Thank youfor this great and pleasant video😊
Again, Great video! I really enjoy listening to how you explain things. So interesting and easy to follow.
Crazy that this is free. Thank you so much!
Great lesson, beautiful sound.
echo what so many other comments said: I could have done the math on the Lydian scale, but after this, I can go compose and play something that SOUNDS Lydian. Starting with F, because I'm barely beginning at the keyboard and white notes are easier, but once I'm Lydian-ing all over the keyboard, perhaps I'll find your videos on the other modes (you DID make videos for the other modes, yes?)
This is a truly great tutorial, thanks!
PERFECT! Accurately displayed... Nothing to add.
I have a somewhat interesting request for Tomasso. We do have some scales which are equivalent to 'Thaats' and some 'Ragas' in India. However there is one Raga to which I don't think there is any scale in western, and I guarantee you a super exciting sound. I will just state the notes with C as root: C C# E F# G G# B . Plz reply me Tomasso if u like this sound and will do a video on this. So far I have found no one which has treated this scale in the Western approach. ;-)
Cool scale. Let me see what I can do with that :)
MusicTheoryForGuitar great! Thank u... :-) This scale is called 'Puriya Dhanashree' in Hindustani Classical...
VERY INTERESTING thanks, long time ago looking for an explanation like this: how to make music out of major/minor (Ionian/aeolian modes)
Awesome as always!
I want to take your master of the modes course and I'm not even a guitar player. I wish there was such a course for keyboard players. Of course I could take up guitar, but really I'm too old and just about to go buy a new keyboard. Thank you so much for your great videos
You can consider my other course, complete chord mastery. Write me at tommaso@musictheoryforguitar.com so we can make sure it's the right course for you (it really depends what you want to learn)
"Pull of the major scale"
That's exactly why I always feel like I'm in G while playing in C Lydian.
Yea. I've been basically _targeting_ the sharp four a bit more aggressively to get around that. This explanation of how the harmony works is a great help.
Instead of targeting the sharp 4, target the tonic note (C) to keep the sound of the mode and make it clear where "home" is. Also, keep the tonic note as a pedal tone in your chord progressions and focusing on the I-II progression
A video just for me! Thanks!
NO WAY! :) Great name!
Amazing lesson! Thank you.
This is exactly what I needed, thanks you
your content is amazing
Thank you, Tommaso. This is fascinating. Truely fascinating. But it makes my head hurt. I have to think about this. . .
Excellent explanation. Thank you.
Man, I really love the Lydian scale!
Listen to the beginning of "Here Comes My Girl" by Tom Petty and the Heartbreakers
thats what i want to learn! thank you!
The intros to the verse on "Don't Tell Me You Love Me" by Nightranger.
Impossible not to sound magically beautiful with the Lydian mode.
I think the most known example among rock guitar players is Flying in a Blue Dream.
Definitely Flying in a Blue Dream!
Always know it’s going to be good when I see you post a new video! Could you do a video on 6th chords? And 6/9, etc. I’m curious how many different 6th chords there are (like is there minor/major?) and their uses (like I know the m6 chord gets used on the IV)
I guess that applies to any other mode, subtract the difference and proceed to have fun, thanks sir !
Great lesson. If you were to start adding upper extensions to the chords should we always stay clear from Dominant 7 so B7 in your example ? Will that break the Lydian as it will always want to resolve back to its parent scale? Are there any other extensions we should avoid?
Thanks Master, such a Metal Heads info 🤘
Very interesting and good explained. 👍🏻👏🏻👏🏻
I love this channel so much! Bellissimo:) The A, D#m7b5/A combination (can I steal that?!) was enough for me to start writing a new song! Thank you.
Sure, you can use that chord progression :) Steal away!
I love the trick of using the G# minor pentatonic scale to solo over A Lydian. Reusable shapes ftw.
A very helpful info. Thank you.
Nice..in Indian music this scale is known as mecha Kalyani..various modes are there like,Kalyani,yamuna Kalyani,poorvaKalyan,hameer Kalyan,yaman...etc...just listen some Indian music based on Kalyani raaga..you get all the exotic colours of the lydian scale more than western.
Ottima lezione come sempre. Il jazz modale quindi utilizza note e’ accordi costruiti con i soliti intervalli dalla scala di partenza?
sounds deeply! thanks
Bravo Tommaso! Always good content and easy to follow. Is this the same scale used in chanson ballade by guillaume de machaut? (l'almanacco del giorno dopo)
I enjoyed it very much
Very dreamy scale
Great content here! So if you make a modal chord progression in lydian, is it true that the less chords the better? I've seen a couple modal harmony videos if I remember right saying that you don't want to add too many chords to the progression. I feel like I need at least 3 chords to make a good chord progression, otherwise it will be either boring or drony? Maybe 2 chords is enough for lydian?
This was amazing can you do mixolydian and phrygian next?
Thank you very much!
Hi, Professor Tomasso! In the minute 7 of this video, the tablature for the chord D#7b5/A is it well written the way you did it?
I think it's correct, yeah. Do you see a mistake I am not noticing?
Would you make us the same analysis about the Phrygian scale?
I just put that in the list of videos to shoot :)
Thank you, man!
I LOVE your videos!!! I watch at least a couple every week. But the only way I can do modes and not get confused is: "A" is the 4th of "E", so I play an "E" scale starting on "A", and I have "A" Lydian. I can't remember all of the raised this and flatted that. A Dorian scale is the 2nd mode. "F#" is the 2nd of "E" so, an "E" scale started on "F#" is simple to remember. In "C" an "E" is the 3rd note... Phrygian is the 3rd mode, so, a "C" scale started on "E" is an "E Phrygian Scale". Sorry, that's just how my brain works. Thank You for your excellent videos. I only have trouble with modes, so I have to think about them differently. Any suggestions?
It would probably be easier to remember the flats and sharps ("accidentals") if you build the scale on the C note; they really jump out at you then.
C Lydian is C-D-E-F#-G-A-B, so it's a major (Ionic) scale with the 4 raised, and the other notes staying the same.
@@christopherheckman5392 Thank you. I sincerely appreciate your reply. I guess the old adage is true, "You can't teach an old dog new tricks. I've been playing since 1963, and the split second that I saw the notes you wrote out, I said, that's a "G" scale. I guess I'll always see it that way, but it works for me. I was playing modes long before I ever even heard the term "modes". I just knew the sound I wanted. When I tried to understand it the way someone tried to show me, I just got confused and frustrated, while at the same time, I could sit down and play them without thinking of them as a "different" scale. I guess the other adage is true as well, "Whatever works." Thank you, again. I DO appreciate your response.
@ Gumbi, you are not the only one, the confusion you have is common. There is not a short answer - I actually dedicate a few sessions in my course Master of the Modes www.musictheoryforguitar.com/scalesandmodesguitarlessons.html precisely to explain how to 'think' about the modes. This is to say: it's not hard, it's just LONG to explain, and once you get it it's quite easy.
@@MusicTheoryForGuitar Thank You! Actually, it IS quite easy. As I replied to someone else, I've been thinking about it the way I do for 57 years, and I was playing in "modes" long before I ever even heard the term. I just knew how I wanted it to sound. It works very well for me. I thought perhaps there was someone else who was struggling with it that might find it easier to think of the way this "old dog" thinks about it.
Thank You! I do THOROUGHLY enjoy your lessons, and I've learned a LOT from them. Modes just seems to be the only thing I seem "set in my ways" about... because it works.
That A major chord into D#m7b5 sounds like Radiohead! 😍
Grazie amico!
Thank you.
First lydian chord progression: I-II
Me: Hey, this is the little mermaid progression XD
it is the Polish highlanders' scale - check out traditional Highlanders' folk tunes like "Zbójnicki (W Murowanej Piwnicy)", it is hilarious
Ah, but what if we play the V as a dom7 chord? That would've been cool to see you break your own suggestion. I am actually going to try this later in Chordbot.
Hello..A little confusion.. Hirjoshi scale has a major second, resulting G# A# B D# E..Please explain this.Thank you.
Omg u just read my mind.
Maestro... would the song “Sara” by Fleetwood Mac use this scale?
In the verse, yes. In the chorus it sounds like a major scale, not Lydian. (By ear - I did not transcribe the whole thing)
Waltz #1!
Great video.
Of all the modes, it is the lydian and mixolydian that are the most confusing to me. Typical chords progression in lydian is I-II which is F- G in F lydian. Typical chords progression in mixolydian is I-VII which is G-F in F mixolydian... how can you really distinguish them?
Lydian has long baffled me, and now I see that attempting tonic-dominant harmony is the problem. What a paradox it is that (ignoring Locrian) the other mode for which this is true is the darkest, i.e. Phrygian, with its diminished dominant chord.
Dang, he even pulled out the Hirojoshi!
Is CF#G a lydian triad? And can u explain different triads like E locrian.etc
Sounds like Anathema at 6:40.
The progression "A, B, C#m, G#m7" is in the key of A Lydian or E major? There is no E chord in this progression, but this progression resolves way better in A.