Link: Lydian chord progressions - Songwriting Essentials

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Lydian chord progressions

Probably more than 99% of the songs are written by using the
regular major (Ionian) or minor (aeolian) modes. But you can
create different moods with your music by using different
modes, and your song will be more unique if you utilize these
scales.

What is a mode?

When we are talking about modes, we are talking about

the same set of notes, but with different tonal centers. For
example, the “regular” C major scale (the Ionian mode) is C, D,
E, F, G, A, B. The tonal center here is the note C.

We use the same set of notes for each other modes, but their
tonal center is a different note. The tonal center of the Lydian
mode is the note F, so the Lydian mode is F, G, A, B, C, D, E.

In the case of modes, I always recommend comparing each

other using the same tonal center. For example, we will
compare the C Lydian mode with the C Ionian. This way it will
be much easier to understand everything because usually
everyone is very comfortable with the regular Ionian mode,
especially in the key of C major.

So the regular C major (Ionian) scale is: C, D, E, F, G, A, B

And the C Lydian scale is: C, D, E, F#, G, A, B

As you can see, there is only one note difference between the
two modes, the notes F and F#. This is why the Lydian is very
close to the regular major scale, however, the Lydian mode
sounds a little bit brighter. In fact, it is the brightest mode of all.
 “How to write chord
progressions based on Lydian“
I get this question many times but the thing is, there is no such
thing as “Lydian chord progression”. Because the chord
progression itself doesn’t determine the mode! It’s the chord
progression AND the melody together. Sometimes it’s ONLY
the melody!

Just think about it for a moment. You are using the same set
of chords as you would use for an Ionian song. Many people
think that if you start the chord progression with the IV (like F
major chord) and end the chord progression with the IV, then
it’s a Lydian chord progression. No, it’s not.

There is some confusion around this topic, that’s why I would

like to make this thing clear here.

However, there is a CHORD that creates a Lydian sound, and

that is if we add a #11 chord tone to a tonic I. chord. For
example, in the key of C major, we can use these chords for a
Lydian sound:

Cadd#11 C – E – G – F#

Cmaj7(#11 C–E–G–B–
) F#

C7(#11) C – E – G – Bb –
F#

Lydian chords
The easiest way to figure out how we can use the Lydian mode
in practice is by writing down songs to see how they used it
successfully. And also, before you try to figure out how to write
a song in Lydian mode, it’s always a good idea to play these
songs on your instrument so your ear gets used to how it
sounds, and what works in this mode.

Let’s see a few songs for example, and then we will see what
can we learn from those examples.

The first example is the song “When We Dance” by Sting. First,

let’s listen to the song:

You can immediately hear the distinctive sound of the Lydian

mode in the verse, which makes this song unique.

Here are the chords he is using in the song. (This is not the
actual chord progression, but only the chords he is using in the
song.)

verse:

C – Am

chorus:

G – C/E – F – C

As you can see, the chord progression doesn’t give us any clue
that this song is in Lydian mode. He doesn’t use a D major
chord or a Bm chord in the song, and actually, the chorus is just
a regular Ionian mode, both the chords and the melody. But the
MELODY makes the verse Lydian.
(By the way, Sting is using the Rhythm Code in this song.)

He sings the note F# on a C major chord, which makes the

Lydian sound in the verse.

Also, notice that the verse is C Lydian, but the chorus is C

Ionian! – so we already learned one songwriting technique only
by writing down ONE song.

Let’s see another song, it’s “Man On The Moon” by R.E.M.

Listen to the song, at least until the first chorus, before reading
further:

The chords in the verse are:

C–D

pre-chorus:

Am – G – D

chorus:

G – Am – C – D

Again, if we only look at the chord progression, this could be a

regular Ionian mode in the key of G major. So what makes this
song sound Lydian? It’s the shape of the melody in the
verse. Usually, melodies end on the tonal center. And in this
song, the melody ends on the note C on a C major chord at
the end of the lines in the verse. This makes us feel like that it’s
in Lydian mode.

Actually, the verse is in C Lydian mode (at least that’s how it

sounds) and the chorus is in G Ionian. Which is practically the
same.

So this is a very different usage of the Lydian mode than in the

previous example.

Why Fleetwood Mac’s “Dream”

is NOT in Lydian mode
There is huge confusion about the Lydian mode in songwriting.
Many people think that if the chord progression of a song starts
with the chords F and G (for example, in the key of C major)
then it’s in Lydian mode.

No, it’s not.

The Lydian mode has a certain, distinctive sound. You don’t

even need to analyze the song. If you are familiar with the
Lydian scale, you can hear it if it’s in Lydian mode or not just by
listening to the song.

Just because a song starts with the chord F, and also

using the chord G, it doesn’t mean that the tonal center is
F, therefore the song is in Lydian mode. Surprise –
surprise, a song can start with chords other than the “tonic”
or the tonal center.

I saw other websites stated that the song “Dream” by Fleetwood

Mac is in Lydian mode. Listen to the song:

The chords are F and G in the whole song, and the melody is
using the notes of the C major key. But does it sound like a
Lydian mode? No, it doesn’t.
So why is that?

It’s because of the melody. The verse melody starts with the
note A, and ends with the note A. So the verse sounds like
Aeolian mode. And the chorus ends on the note C, so it sounds
like Ionian.

There is another reason why we don’t hear the distinctive

Lydian sound. The melody in this song is mostly using the
pentatonic scale: A – C – D – E – G. The typical Lydian sound
is when there is a #IV on a “tonic” I. chord. In this case, it would
be a B note in the melody on the chord F. Although, there is a
note B in the melody in this song, but it’s not on the chord F, it’s
on the chord G.

Just because the chords are using only the IV and the V
chords, it doesn’t make the song Lydian. It’s just a song using
the chords IV and V…

There is another song like this. The song “Friends” by Justin

Bieber. Listen to the song:

This song also contains only the IV and the V (Ab and Bb) in Eb
major. Does it sound like Lydian? I don’t think so. Maybe the
pre-chorus, where the melody note is a D on an Ab chord. But
the chorus melody ends on the note Eb, which suggests
that Eb is the tonal center.

Another example is the song “Fuck You” by Cee Loo Green.

Listen to the song here:

The chords are: C – D – F

Does this song sound like it’s in Lydian mode? No, it doesn’t.
Why? Because the melody is using the pentatonic scale. So
even though the chord progression of this song would
suggest that there is a F# note in the key of C major, it still
doesn’t make the song into a Lydian song.
 In Summary
Here is what we have learned about writing songs in Lydian
mode.

1. The chord progression itself doesn’t determine the mode of

the song. It’s the chord progression AND the melody. Just
because a chord progression starts with the IV and V of the
major key (like the chords F and G in the key of C major), it
doesn’t necessarily mean that the song is in Lydian mode.

2. However, you can create a Lydian sound by using the note

F# on the tonic I. chord. (f.e. When We Dance by Sting)

3. One technique is to use a C Lydian mode in the verse (with

the #11 chord) and a C Ionian mode in the chorus. (This creates
a contrast between the parts, which is essential in songwriting.)

4. Another technique if one part of the song (for example, the

verse) is in C Lydian, but the chorus is in G Ionian. They are
practically the same, but in this case, the shape of the melody
makes it feel like that the verse is in Lydian. You can make it
feel like a Lydian mode if you end the chord progression
with the C major chord and also end the melody with the
note C.