Novalydian
Registered User
Join date: Jul 2009
559 IQ
#1
Ok so i have this progression using the lydian diotonic chord sequence (major, dominant, minor, diminished, major, minor, minor)

Anyway i have a progression in C lydian which goes like this: Emin6, Cmaj, Amaj, Gmaj, Emin6 well i was wondering if i could switch the Gmaj for a G7b5 and then finish with the Cmaj and it still be a C lydian progression. The reason i'm asking this is because when i try and resolve the progression to C from the Gmaj or the D7 it doesn't sound right and it wants to pul to Emin.

I just realized that progression is in Emin with a borrowed Major iv chord..
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Last edited by Novalydian at Mar 24, 2010,
isaac_bandits
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#2
Your progression wouldn't be in C lydian either way. The A chord has a C♯ in it, which is non-diatonic, and none of your chords even have the F♯ which gives C lydian its sound. Sure, you can put in a G7♭5, which will make the resolution to C nice, but it won't make it lydian.
Last edited by isaac_bandits at Mar 24, 2010,
griffRG7321
Theory buff
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#3
For a lydian sound try a static maj7#11 chord or a I - II vamp.
AeolianWolf
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#4
Quote by isaac_bandits
You're progression wouldn't be in C lydian either way. The A chord has a C♯ in it, which is non-diatonic, and none of you're chords even have the F♯ which gives C lydian its sound. Sure, you can put in a G7♭5, which will make the resolution to C nice, but it won't make it lydian.


this. so very this.

although both "you're"s should be "your".
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Last edited by AeolianWolf at Mar 24, 2010,
isaac_bandits
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#5
Quote by AeolianWolf
this. so very this.

although both "you're"s should be "your".


Yes they should be. I've been doing too much thinking today.
AeolianWolf
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#6
Quote by isaac_bandits
Yes they should be. I've been doing too much thinking today.


oh man, do i know that feeling. i called a G to an E a perfect 11th.
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chainsawguitar
Registered User
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#7
Quote by griffRG7321
For a lydian sound try a static maj7#11 chord or a I - II vamp.


Vamps help to creat modal sounds...but they are not the only way.

TS, why is it so important that you stick to the "rules"? If it sounds good, do it!
Sean0913
Music Theory Life-Hacker
Join date: Dec 2009
813 IQ
#8
Quote by Novalydian
Ok so i have this progression using the lydian diotonic chord sequence (major, dominant, minor, diminished, major, minor, minor)

Anyway i have a progression in C lydian which goes like this: Emin6, Cmaj, Amaj, Gmaj, Emin6 well i was wondering if i could switch the Gmaj for a G7b5 and then finish with the Cmaj and it still be a C lydian progression. The reason i'm asking this is because when i try and resolve the progression to C from the Gmaj or the D7 it doesn't sound right and it wants to pul to Emin.

I just realized that progression is in Emin with a borrowed Major iv chord..


You don't have a progression in C Lydian.

What you have done, is rearrange the order of the Harmonized scale, but the chords aren't even diatonic.

C Lydian is

C D E F# G A B C

Your chord starts on an Em6, that has a C# as the 6 not a C. For starters, Id start on a C to establish the tonality of C, it doesnt even have to be a Cmaj7#11. I'd also do an Em9 when using the Em...You aren't even focusing on the parts that would make it sound modal. You aren't even using a D Major.

Try this - Cmaj7#11, D (any D, maj 7, maj 9 etc, I like a D/F# a lot), Em9, G maj7, back to C Maj7#11.

Best,

Sean
Last edited by Sean0913 at Mar 25, 2010,
isaac_bandits
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#9
Quote by chainsawguitar
Vamps help to creat modal sounds...but they are not the only way.

TS, why is it so important that you stick to the "rules"? If it sounds good, do it!


Definitely do what sounds good, but don't go calling it C lydian when its nowhere near C lydian.

Quote by Sean0913
You don't have a progression in C Lydian.

What you have done, is rearrange the order of the Harmonized scale, but the chords aren't even diatonic.

C Lydian is

C D E F# G A B C

Your chord starts on an Em6, that has a C# as the 6 not a C. For starters, Id start on a C to establish the tonality of C, it doesnt even have to be a Cmaj7#11. I'd also do an Em9 when using the Em...You aren't even focusing on the parts that would make it sound modal. You aren't even using a D Major.

Try this - Cmaj7#11, D (any D, maj 7, maj 9 etc, I like a D/F# a lot), Em9, G maj7, back to C Maj7#11.

Best,

Sean


I agree with everything except the use of the Gmaj7. It is a good idea to play the F♯ in almost every chord, since that gives the lydian flavour, but since G is the tonic of the relative major, it steals the tonality as soon as you play it.
AeolianWolf
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Join date: Jul 2009
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#10
Quote by isaac_bandits
I agree with everything except the use of the Gmaj7. It is a good idea to play the F♯ in almost every chord, since that gives the lydian flavour, but since G is the tonic of the relative major, it steals the tonality as soon as you play it.


mm...not necessarily. it can be used, but heed isaac's warning - it is VERY easy for it to steal the tonality. use it with care.

however, perhaps a better solution altogether would be to play Bm instead of Gmaj7. same notes without the G.
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Sean0913
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#11
I think you have enough Lydian specific chords to get away with it, especially since the G is the V of C and even without a b7 it can still pull without a leading tone and effectively "Close It" once the #11 is reintroduced. Now if it were simply a C major, I'd see more of an issue, but the prevalence of the #4 gives enough toal center for it over a C Lydian progression.

I also agree with the Bm7 in place of the Gmj7 as an option, but Bm is just as well with the #4 making an appearance as the 5th in the triad.

Best,

Sean
xxdarrenxx
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Join date: Jan 2006
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#12
I'd go with griffin's advice as it's 100% clear.

Sean's suggestion is a nice one to experiment with, although I'd work with that if you have more experience both aurally and theoretically, so you don't end up implying a minor/Major key.

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