For the F#dim I was mostly thinking about using it to lead into a G. So C - F#dim - G. In modal theory, we look at the pitch collection outside of the context of leading tone function. I know how to use D major in a C Lydian progression, but I was wondering if anyone had good ideas of how to use the F#dim or the B minor? Press J to jump to the feed. You can also give a lydian feel just by using #4 scale degree over a static I chord. I'm sure that was intentional, but to make A Lydian, you'd need to stay away from that E chord at all costs, especially if you just used the B! At FeelYourSound, we created a MIDI plug-in that does exactly that. http://www.LearnPianoLive.com/SongWriting. Basically, it's easy to sound like chords going nowhere. I've been writing some piano pieces in C major and minor, and I want to try to write a C Lydian song. So as I see the new diatonic chord for Lydian (beyond what C major has) are D major, F#dim and B minor. I feel as if you might be trying to approach this in more of a tonal context. And really, preserving that root-movement-based harmonic scheme is sorta missing the point of modalism. Instead, stick to some of the more neutral chords - C, Bm, Am, Em, and GMaj7 (you can also get mileage out of things like Am6, Emadd9 or Em9, and so on). You build and resolve tension against the root pitch by distributing it in different ways within the mode. The C lydian chord vi is the A minor chord, and contains the notes A, C, and E. This submediant chord's root / starting note is the 6th note (or scale degree) of the C lydian mode. Outside of major and minor I think it gets a little awkward to harmonize the mode diatonically. With the chords of the Scale Chords project, you can create nice chord progressions easily. In my opinion, this is highlighting the mode. The roman numeral for number 6 is ' vi' and is used to indicate this is the 6th triad chord in the mode. Maybe it will help you too? My piano teacher referred me to this video, which helped a lot! So when we say that we are in C ionian versus C major, the two scales may share the same pitch material, but the mode isn't bound to the same harmonic constraints that the C major scale is. The F#dim chord doesn't look like a product of using C lydian, moreso than it functioning like a secondary dominant. One idea I had was C - Bm - Em - G Which would be nice since the Bm is like the V of the Em anyway. It is in lower case to denote that the chord is a minor chord. Most people will avoid it altogether or bury it at least. The second progression looks like a C major progression entirely. Your first progression C > Bm > Em > G makes use of Bm which already feels different than a progression in C major. Listen to music like Steve Reich, Philip Glass, Herbie Hancock, Phish to hear how modes work kinda like one big-ass chord. C Em Am F#dim Em D C G C C D/C G/B C Am Bm/F# C/G G C It’s not very easy to make lydian work for an entire song, because it takes a lot of effort to make C sound like the tonal focus. I might, however, use the F# half diminished (F# A C E) - but I definitely wouldn't resolve it to G if I wanted to maintain that floaty lydian modal feeling. Press question mark to learn the rest of the keyboard shortcuts, http://www.LearnPianoLive.com/SongWriting. So as I see the new diatonic chord for Lydian (beyond what C major has) are D major, F#dim and B minor. I personally wouldn't use the F#dim chord as a part of a C lydian progression. So basically, if you want to explore modes for what they really are, don't worry so much about the traditional progression concept, and instead focus on working with tension against the tonic. Looking at C lydian, your two progressions approach the scale differently. There aren't a huge amount of Lydian pieces out there because it is more difficult to keep this one from drifting towards the key of the V chord (G Major here). Best of luck to you! New comments cannot be posted and votes cannot be cast, More posts from the musictheory community. It has too strong a pull to the G chord and makes the progression feel functionally tonal, rather than modal. (Ionian to mixolydian). And just make sure you make it sound like C is the center. G > C however reestablishes dominant tonic relationship and the progression repeats. I would experiment with chord progressions that don't end with G resolving back to C. Maybe something like C > D > F#dim > Bmin. Modal music, after all, is still pitch centric. It's not about building and resolving tension through voice leading and such. Moving from F#o to G would be especially bad as it's going to sound like a cadence in G. As 7b5 says, even if you establish C, it's going to sound more like another very familiar sound - viio / V to V. This is why, when we're in Am, we DON'T want to use bVII - bIII too much becuase it sounds like V - I in the relative major. I was having a hard time coming up with suitable chord progressions that I liked. Tom Petty has a great song called "Here Comes My Girl" and it begins with an A to B chord back and forth which has a really Lydian vibe to it, but when it gets to that E, it sounds so resolved and basically like it was in E all the time (it's also a prominent part of the song). In fact, you might avoid the plain G altogether or anything that "points to" G - the F#o especially, and to some degree the D - like you don't want to go C-D-G as it's just going to sound like G Major (it's going to be really hard to orient your listeners to C in that example). As you can hear, it often sounds as though a lydian progression is simply ending on the IV-chord (G, in this case). It all depends on context. Chord Progressions in C Lydian I've been writing some piano pieces in C major and minor, and I want to try to write a C Lydian song. That's the writing equivalent harmonizing a mode by just going from iii vi ii V I to iiiº vi ii v I. But did you know that it's possible to transform these chords into great sounding melodies and basslines easily? Imagine a written passage in which all of the punctuation were simply shifted forward one word. Ears are so used to major and minor chords being in certain places harmonically that using them to approach a different tonic creates some confusion. A subreddit for people who care about composition, cognition, harmony, scales, counterpoint, melody, logic, math, structure, notation, and also the overall history and appreciation of music. That's why bVII typically gets changed to viio - so it will resolve not towards bIII, but i instead. I recently started song-writing. You could easily just go C to Em and back and forth, using C Lydian for the melody, and as long as you orient listeners to the C rather than the Em, it'll sound Lydian. In fact, although it doesn't feel as much as the second progression, this point is where the progression starts to move in the direction of G major, which C lydian shares all of the same notes. The biggest problem will be that the F#o is so strongly associated with being viio it's hard to get away from. When you're doing modalism for sake of being modal, the idea is that your harmony is basically the whole mode at once.

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