• Who Else Wants To Add That Lydian Flavor To The 1-Chord In The Major Key?

    in Experienced players,General Music,Gospel music,Jazz music,Piano,Theory

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    There’s a Lydian flavor that can be added to the 1-chord in the major key and that’s our focus in this lesson.

    Using the concept of the static section that I’ll show you in this lesson, you’ll be able to create a whole lot of movement over the 1-chord by incorporating a borrowed chord from the Lydian scale.

    Attention: It doesn’t matter if you play gospel or jazz; you’ll certainly love this Lydian flavor and I’m very certain about that.

    So, in the next 7 minutes or so, and if you give me your undivided attention, I’ll show you how to create a “static section” over the 1-chord.

    Quick Insights On The Lydian Scale

    The Lydian scale is derived from the Lydian mode.

    Playing all the white notes on the piano from F to F:

    …produces the Lydian mode:

    …which looks like a major scale with a raised fourth tone.

    A quick comparison between the Lydian mode and the F major scale:

    Lydian mode:

    F major scale:

    …shows that:

    Raising the fourth tone of the F major scale:

    …(which is Bb):

    …by a half-step (from Bb to B):

    …produces the F Lydian scale:

    So, the Lydian scale is usually associated with the major scale and here’s the relationship between them:

    Raising the fourth tone of any given major scale (by a half-step) produces the Lydian scale.

    Always keep that in mind.

    “Here’s A Quick Example…”

    Raising the fourth tone of the D major scale:

    …which is G:

    …by a half-step (from G to G#):

    …produces the D Lydian scale:

    “For Your Reference, Here Are All The Lydian Scales On The Keyboard…”

    C Lydian scale:

    Db Lydian scale:

    D Lydian scale:

    Eb Lydian scale:

    E Lydian scale:

    F Lydian scale:

    Gb Lydian scale:

    G Lydian scale:

    Ab Lydian scale:

    A Lydian scale:

    Bb Lydian scale:

    B Lydian scale:

    Here’s The Lydian Flavor You Can Add To The 1-Chord

    At the introductory segment of this lesson, I described the Lydian flavor (we’ll be spicing up the 1-chord with) using the term “static section.”

    A static section is a harmonic movement that revolves around a particular chord. In a static section, it seems like we’re moving when we’re really NOT.

    The particular static section we’ll be learning in this segment is similar to that of the neighboring chord couple concept.

    “Do You Still Remember The Neighboring Chord Couple Concept?”

    In the neighboring chord couple concept, two adjacent scale tone chords are used in harmonization. For example, the C major triad and D minor triad (the 1-chord and 2-chord respectively):

    C major triad:

    D minor triad:

    …are used in the key of C major:

    “Using This Chord Couple, Here’s How To Create A Static Section Over The 1-chord…”

    With the left hand on the C bass note:

    …you can play the following chords (all derived from the C major and D minor couple):

    C major:

    D minor:

    C major:

    D minor:

    C major:

    D minor:

    C major:

    D minor:

    C major:

    The idea is to create a static section over the 1-chord. Therefore, all the chord couples should be played over the C bass note given earlier.

    Neighboring Chord Couples Using The Lydian Scale

    Using the C Lydian scale (as a reference):

    …the following chord couple can be derived:

    The C major triad:

    The D major triad:

    As opposed to the chord couple in the natural major scale, the chord couple in the natural minor scale consists of two major triads.

    “Here’s The Static Section Using Chord Couples Derived From The Lydian Scale”

    With the left hand on the C bass note:

    …you can play the following chords (all derived from the Lydian scale):

    C major:

    D major:

    C major:

    D major:

    C major:

    D major:

    C major:

    D major:

    C major:

    Attention: You’ll find this static section useful at the end of songs; whether you’re playing in a solo situation, with a band, or accompanying a singer.

    A Short Note On The Lydian Flavor

    Remember that the fourth tone of the major scale is raised in the Lydian scale. It is the raising of the fourth tone (which is F):

    …by a half-step (to F#):

    …that explains why we have the D minor triad in the major scale:

    D minor triad:

    C major scale:

    …and the D major triad in the Lydian scale:

    D major triad:

    C Lydian scale:

    Submission: So, it is the raised fourth tone in the D major triad that adds the Lydian flavor to the static section involving this couple — the C major triad and the D major triad — all derived from the Lydian scale.

    Final Words

    Are you ready for the next lesson on the Aeolian flavor?

    In a lesson in the not-too-distant future, we’ll explore a variety of flavors from the authentic modes and also learn how they are applied in real songs.

    Keep up the great and thank you for your time.

    All the best!

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    Hello, I'm Chuku Onyemachi (aka - "Dr. Pokey") - a musicologist, pianist, author, clinician and Nigerian. Inspired by my role model Jermaine Griggs, I started teaching musicians in my neighborhood in April 2005. Today, I'm privileged to work as the head of education, music consultant, and chief content creator with HearandPlay Music Group sharing my wealth of knowledge with hundreds of thousands of musicians across the world.

    Attention: To learn more about this, I recommend our 500+ page course: The "Official Guide To Piano Playing." Click here for more information.



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