![]() In fact, Lydian does not have an avoid note. ![]() However, the Lydian's augmented fourth is not an avoid note since there is no clash with the major third. The reasoning behind this claim is that the Ionian Mode has an avoid note in its perfect fourth which clashes with the major third. Although the Ionian and other scales also fit. It is argued that the Lydian Mode is the ideal chord to be played over a major seventh chord. The subdominant chord often acts as a predominant, as seen/heard in the common chord progression of I-IV-V (1-4-5). The Lydian Mode shows up with the IV chord (subdominant) in diatonic harmony. Much like the Ionian mode, they are:Īlong with all the extensions beyond the major seventh chord, notably: The Lydian mode yields one triad and one tertian seventh chord. So even though C Ionian and F Lydian are made up of exactly the same notes, they are different! This is the beginning of modal study. Their quality (minor/major/diminished/augmented) is different.But their starting points (roots) are different. This means that, yes, they have the same notes. C Ionian and F Lydian are both modes from the C Major Scale. Ionian and Lydian are both modes of the Major Scale. ![]() If you happen to be coming from the article on the Ionian Mode or the Dorian Mode, you may realize that the white keys from C-C' (Ionian) are the same notes as the white keys from D-D' (Dorian) and the white keys from E-E'. ![]() Let's listen to the F Lydian mode against a droned F: A quick clarification Major Seventh (11 semitones above the root).Major Sixth (9 semitones above the root).Perfect Fifth (7 semitones above the root).Augmented Fourth (6 semitones above the root).Major Third (4 semitones above the root).Major Second (2 semitones above the root). ![]()
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