# Lydian Nights



## Xinver (Aug 26, 2016)

We are talking in other thread about lydian mode.

LYDIAN NIGHTS SCORE: https://www.dropbox.com/s/cllvb0hk9if3vcj/LYDIAN%20NIGHTS.pdf?dl=0


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https://soundcloud.com/user-417172164%2Fd-lidio

Or else, go to one of my blogs:

https://enjoycanon.blogspot.com.es/2017/04/semana-18-lydian-nights.html


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## Phil loves classical (Feb 8, 2017)

Sounds very improvisational. I liked the Misnamed Things track.


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## Captainnumber36 (Jan 19, 2017)

Xinver said:


> We are talking in other thread about lydian mode.
> 
> LYDIAN NIGHTS SCORE: https://www.dropbox.com/s/cllvb0hk9if3vcj/LYDIAN%20NIGHTS.pdf?dl=0
> 
> ...


Pleasant piece! Would like to hear on a real piano.


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## Sekhar (May 30, 2016)

For some reason, I keep hearing this as in E minor, not sure why. I start off hearing the m1-m2 move as me-re and am perhaps getting stuck on that from then on. May be a more pronounced chord progression in the beginning will establish the key/mode better, but I will definitely study this to understand why as well as study your progressions.


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## Xinver (Aug 26, 2016)

Sekhar said:


> For some reason, I keep hearing this as in E minor, not sure why. I start off hearing the m1-m2 move as me-re and am perhaps getting stuck on that from then on. May be a more pronounced chord progression in the beginning will establish the key/mode better, but I will definitely study this to understand why as well as study your progressions.


I believe that the power of major / minor mode is so strong in our ears that many modal music, even well written, keep sounding major / minor.

Perhaps we associate lydian mode with a melodic line that uses tritone, for example:

The Siiiimpsooons: C - F# - G. (This piece is, in fact, in lydian dominant or lydian b7)
María (West side story): Eb - A - Bb

But lydian mode is much more than that. We should look back to the medieval ages to find pure modal music (lydian was not used many times then).

Apart from that, I don't think the question is in the progression. I was taught that modal music has not "chord progressions" because more than harmony, the lineal aspects (melodies) are more important. That's why in modal music there are not "avoid notes", for every chord. Harmony in modality tends to change very little. Some pieces stay whole phrases in only one chords.

In this mode, lydian, the cadential chords are D and Bm / Bm7 because they include the characteristic note (F#). Even clear D7 is "dangerous" because our ears expect a G afterwards.

I'm not a purist, and have no problem using modality combined with major or minor. But when I write something that I want to be truly modal, I used this cadential chords and always stay away from dominant-tonic sequences.

In this piece, some parts are in C lydian, the fugado parts are in several lydian modes (with different tone centers).

It's always interesting modal music.


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## Goddess Yuja Wang (Aug 8, 2017)

Xinver said:


> In this mode, lydian, the cadential chords are D and Bm / Bm7 because they include the characteristic note (F#). Even clear D7 is "dangerous" because our ears expect a G afterwards.


I love this mode!

Also, the Vmaj7 (G maj7 in C Lydian), with its character note in the major seventh, is very useful, especially because it distinguishes it from regular major, as is the iii-9, with the colour note in the major ninth.

C/D is useful too, as in Emin9 - D - C/D. Treated properly, it doesn't have to sound like a V7/V with the 7th in the bass. Lends itself great for modulation or modal interchange (my favourite).

_Or is it D/C? I always confuse the notation of what goes on the bottom...Above I meant the C as the bass of a D triad. _


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