Lydian mode

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Template:Short description Template:Use dmy dates The modern Lydian mode is a seven-tone musical scale formed from a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones, and a final semitone.

<score sound="1" lang="lilypond"> {

\key c \lydian \override Score.TimeSignature #'stencil = ##f \relative c' { 

 \clef treble \time 7/4
 c4^\markup { Modern C Lydian scale } d e fis g a b c2

} } </score> Because of the importance of the major scale in modern music, the Lydian mode is often described as the scale that begins on the fourth scale degree of the major scale, or alternatively, as the major scale with the fourth scale degree raised half a step. This sequence of pitches roughly describes the scale underlying the fifth of the eight Gregorian (church) modes, known as Mode V or the authentic mode on F, theoretically using BTemplate:Music but in practice more commonly featuring BTemplate:Music.Template:Sfn The use of the BTemplate:Music as opposed to BTemplate:Music would have made such piece in the modern-day F major scale.

Ancient Greek Lydian

The name Lydian refers to the ancient kingdom of Lydia in Anatolia. In Greek music theory, there was a Lydian scale or "octave species" extending from parhypate hypaton to trite diezeugmenon, equivalent in the diatonic genus to the modern Ionian mode (the major scale).Template:Sfn

<score sound="1" lang="lilypond"> {

\key e \major \override Score.TimeSignature #'stencil = ##f \relative c' { 

 \clef treble \time 7/4
 e4^\markup { Greek Lydian tonos (diatonic genus) on E } fis gis a b cis dis e2

} } </score> In the chromatic and enharmonic genera, the Lydian scale was equivalent to C DTemplate:Music E F GTemplate:Music A B C, and C CTemplate:Music ETemplate:Music F FTemplate:Music ATemplate:Music BTemplate:Music C, respectively,Template:Sfn where "Template:Music" signifies raising the pitch by approximately a quarter tone.

<score sound="1" lang="lilypond"> {

\key e \major \override Score.TimeSignature #'stencil = ##f \relative c' { 

 \clef treble \time 7/4
 e4^\markup { Greek Lydian tonos (chromatic genus) on E } f gis a bes cis dis e2

} } </score>

<score sound="1" lang="lilypond"> {

\key e \major \override Score.TimeSignature #'stencil = ##f \relative c' { 

 \clef treble \time 7/4
 e4^\markup { Greek Lydian tonos (enharmonic genus) on E } feh gisih a aih cisih disih e2

} } </score>

Medieval Lydian mode

In the Middle Ages and Renaissance, this mode was described in two ways. The first way is the diatonic octave species from F up to F an octave above, divided at C to produce two segments:

<score sound="1" lang="lilypond"> {

\override Score.TimeSignature #'stencil = ##f \relative c' { 

 \clef treble \time 5/4
   f4^\markup { Medieval Lydian mode on F } g a b c
 \time 4/4
   \parenthesize c d e f

} } </score> The second is as a mode with a final on F and an ambitus extending to F an octave higher and in which the note C was regarded as having an important melodic function. Many theorists of the period observed that BTemplate:Music is used more typically than BTemplate:Music in compositions in Lydian mode.Template:Sfn

Modern Lydian mode

The Lydian scale can be described as a major scale with the fourth scale degree raised a semitone, making it an augmented fourth above the tonic; e.g., an F-major scale with a [[B (musical note)|BTemplate:Music]] rather than [[B♭ (musical note)|BTemplate:Music]]. That is, the Lydian mode has the following formula:

1, 2, 3, Template:Music4, 5, 6, 7, 8

This mode's augmented fourth and the Locrian mode's diminished fifth are the only modes to have a tritone above the tonic.

<score sound="1" lang="lilypond"> {

\override Score.TimeSignature #'stencil = ##f \relative c' { 

 \clef treble \time 7/4
 f4^\markup { Modern F Lydian scale } g a b c d e f2

} } </score> In Lydian mode, the tonic, dominant, and supertonic triads are all major. The subdominant is diminished. The triads built on the remaining three scale degrees are minor.

Alternatively, it can be written as the pattern

whole, whole, whole, half, whole, whole, half or (W-W-W-H-W-W-H)

List of Modern Lydian scales

Major Key Minor Key Key Signatures Tonic Component pitches
C♯ major A♯ minor 7♯ F♯ F♯ G♯ A♯ B♯ C♯ D♯ E♯
F♯ major D♯ minor 6♯ B B C♯ D♯ E♯ F♯ G♯ A♯
B major G♯ minor 5♯ E E F♯ G♯ A♯ B C♯ D♯
E major C♯ minor 4♯ A A B C♯ D♯ E F♯ G♯
A major F♯ minor 3♯ D D E F♯ G♯ A B C♯
D major B minor 2♯ G G A B C♯ D E F♯
G major E minor 1♯ C C D E F♯ G A B
C major A minor - F F G A B C D E
F major D minor 1♭ B♭ B♭ C D E F G A
B♭ major G minor 2♭ E♭ E♭ F G A B♭ C D
E♭ major C minor 3♭ A♭ A♭ B♭ C D E♭ F G
A♭ major F minor 4♭ D♭ D♭ E♭ F G A♭ B♭ C
D♭ major B♭ minor 5♭ G♭ G♭ A♭ B♭ C D♭ E♭ F
G♭ major E♭ minor 6♭ C♭ C♭ D♭ E♭ F G♭ A♭ B♭
C♭ major A♭ minor 7♭ F♭ F♭ G♭ A♭ B♭ C♭ D♭ E♭

Notable compositions in the Lydian mode

Classical (Ancient Greek)

The Paean and Prosodion to the God, familiarly known as the Second Delphic Hymn, composed in 128 BC by Athénaios Athenaíou is predominantly in the Lydian tonos, both diatonic and chromatic, with sections also in Hypolydian.Template:Sfn

Medieval

The 12th-century "Hymn to St. Magnus" from the Orkney Islands, referencing Magnus Erlendsson, Earl of Orkney, is in Gregorian mode or church mode V (F white notes),Script error: No such module "Unsubst". extending from the E below to the octave above, with BTemplate:Music's throughout, in two-part harmony of mostly parallel thirds. The Sanctus, Agnus Dei, and Ite, missa est of Guillaume de Machaut's Messe de Nostre Dame feature extensive use of FTemplate:Music and BTemplate:Music, as well as FTemplate:Music and BTemplate:Music.Template:ClarifyScript error: No such module "Unsubst".

Romantic

A rare, extended use of the Lydian mode in the Classical repertoire is Simon Sechter's 1822 Messe in der lydischen Tonart (Mass in the Lydian Mode).Template:Sfn A more famous example from around the same time is the third movement of Ludwig van Beethoven's String Quartet No. 15 in A minor, Op. 132 (1825), titled by the composer "Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" ("Holy Song of Thanksgiving by a Convalescent to the Divinity, in the Lydian Mode").[1] The alternating passages in F use the Lydian scale with sharp fourth scale degree exclusively.

Charles-Valentin Alkan's Allegro barbaro (Étude Op. 35, No. 5, published in 1848) is written strictly in F Lydian, with no BTemplate:Music's present at all.Template:Sfn

Anton Bruckner employed the sharpened fourth of the Lydian scale in his motet Os justi (1879) more strictly than Renaissance composers ever did when writing in this mode.Template:Sfn

Gabriel Faure's song Lydia from "2 Melodies" Op 4 ?1872. This ode to Lydia - by Parnassian poet Leconte de Lisle - starts, appropriately, in the Lydian mode and, in F, has a raised 4th (B natural) in the first line of the melody.

Modern

In the 20th century, composers began once again to exploit modal scales with some frequency. George Enescu, for example, includes Lydian-mode passages in the second and third movements of his 1906 Decet for Winds, Op. 14.Template:Sfn An example from the middle of the century is the scherzo movement of Carlos Chávez's Symphony No. 3 (1951–54). The movement opens with a fugue subject, featuring extremely wide leaps, in C Lydian with following entries in F and G Lydian.Template:Sfn Alexei Stanchinsky wrote a Prelude in Lydian mode earlier in the 20th century.Template:Sfn

Jazz

In Lydian Chromatic Concept of Tonal Organization, George Russell developed a theory that became highly influential in the jazz world, inspiring the works of people such as Miles Davis, John Coltrane, Ornette Coleman, and Woody Shaw.Template:Sfn

Popular

Template:Quote

Folk

  • Many Polish folksongs, including the mazurka, are in the Lydian mode; the first six notes of this mode were sometimes known as the "Polish mode".Template:Sfn

See also

Notes

Template:Reflist

Sources

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  • <templatestyles src="Citation/styles.css"/>Anon. n.d. "Frequently Asked Questions about George Russell's Lydian Chromatic Concept of Tonal Organization". www.georgerussell.com (Accessed 23 February 2012).
  • <templatestyles src="Citation/styles.css"/>Barbera, André. 1984. "Octave Species". The Journal of Musicology 3, no. 3 (July): 229–241. JSTOR 763813 (Subscription access). Script error: No such module "doi".
  • <templatestyles src="Citation/styles.css"/>Barker, Andrew. 1984–1989. Greek Musical Writings. 2 vols. Cambridge Readings in the Literature of Music. Cambridge and New York: Cambridge University Press.
  • <templatestyles src="Citation/styles.css"/>Carver, Anthony F. 2005. "Bruckner and the Phrygian Mode". Music & Letters 86, no. 1:74–99. Script error: No such module "doi". (Subscription access).
  • <templatestyles src="Citation/styles.css"/>Hein, Ethan. 2012. "The Major Scale Modes". Ethan Hein's Blog: Music, Technology, Evolution (Accessed 26 January 2012).
  • <templatestyles src="Citation/styles.css"/>Hoffman, Alfred, and Adrian Rațiu. 1971. "Succese ale simfonistului (1900–1906)". In George Enescu: Monografie, 2 vols., edited by Mircea Voicana, 237–329. Bucharest: Editura Academiei Republicii Socialiste România.
  • <templatestyles src="Citation/styles.css"/>Orbón, Julián. 1987. "Las sinfonías de Carlos Chávez." (part 2). Pauta: Cuadernos de teoría y crítica musical 6, no. 22 (April–June): 81–91.
  • <templatestyles src="Citation/styles.css"/>Pöhlmann, Egert, and Martin L. West. 2001. Documents of Ancient Greek Music: The Extant Melodies and Fragments, edited and transcribed with commentary by Egert Pöhlmann and Martin L. West. Oxford: Clarendon Press. Template:ISBN.
  • <templatestyles src="Citation/styles.css"/>Powers, Harold S. 2001. "Lydian". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell, 15:409–410. 29 vols. London: Macmillan. Template:ISBN (set) Template:ISBN (set) Template:OCLC (set) Template:OCLC (v. 15) Template:OCLC (v. 15, reprint with minor corr.) LCCN 00-55156 or 00055156 (set).
  • <templatestyles src="Citation/styles.css"/>Preston, William. 2012, p. 25. "Funk Pop a Roll : The Stylistic Evolution of XTC". Portland, Oregon: Lewis and Clark College.
  • <templatestyles src="Citation/styles.css"/>Smith, Ronald. 2000. Alkan, the Man, the Music. London: Kahn & Averill. Template:ISBN.
  • <templatestyles src="Citation/styles.css"/>Prelude in Lydian Mode (1908, Stanchinsky, Aleksey): Scores at the International Music Score Library Project
  • <templatestyles src="Citation/styles.css"/>Trochimczyk, Maja. n.d. "Mazur (Mazurka)". University of Southern California Polish Music Center website (accessed 12 November 2018).

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Further reading

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  • Beato, Rick. 2018. "What Makes This Song Great? Ep. 2: The Police". YouTube (26 January. Retrieved 28 March 2018).
  • Benward, Bruce, and Marilyn Nadine Saker. 2009. Music in Theory and Practice, eighth edition, vol. 2. Boston: McGraw-Hill. Template:ISBN.
  • Chase, Wayne. 2006. How Music Really Works!: Musical and Lyrical Techniques of the Masters, second edition. Vancouver: Roedy Black Publishing Inc. Template:ISBN; Template:ISBN.
  • Jones, George Thaddeus. 1974. Music Theory: The Fundamental Concepts of Tonal Music Including Notation, Terminology, and Harmony. Barnes & Noble Outline Series 137. New York, Hagerstown, San Francisco, London: Barnes & Noble. Template:ISBN.
  • Miller, Scott. 2002. Mel Bay's Getting Into ... Jazz Fusion Guitar. Pacific, Missouri: Mel Bay Publications. Template:ISBN.

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External links

Template:Modes Template:Authority control

  1. ↑ Prout, Ebenezer (1903). Harmony: Its Theory and Practice, p.317. Augener. Template:Pre-ISBN.
  2. ↑ a b Script error: No such module "citation/CS1".
  3. ↑ Script error: No such module "citation/CS1".
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