Musician’s Corner IV

Today’s Musician’s Corner entry will discuss F Lydian. By this point you should be familiar with the three different relationships that we are discussing. If you are not, please go back and review the prior Musician’s Corner posts.
If you find yourself glancing over these charts like they are pictures, you need to step back and take a breath. Then come back and actually read them. Read them one note at a time like you are reading a sentence. Go slowly and think about all the different relationships that you can find among the notes.
The goal of all of this is to be able to look at (or listen to) a song or set of chord changes and know how to make educated note choices. After we have analyzed all of the modes of the key of C we will move on to a discussion of chords. We will find out where they come from and take a look at their different relationships. Once we have done that we will be able to look at different examples of chord progressions and put them in a context. This context will come directly from our discussion of modes and chords. Please do not gloss over this information because it is the foundation. Without it you will probably get lost later.

F Lydian:

F G A B C D E F

 

Here is how we derive it from C major (the parent key) and our previous modes:

Relationship #1

Thus, the formula for F Lydian:

1 1 1 ½ 1 1 ½

 

Relationship #2, scale degree and interval from the root:

 

1 2 3 #4 5 6 7 8
F G A B C D E F

 

Again, here is the chart showing the derivation of intervals between each scale degree:

 

Note ➔Note Number of Steps Interval
F➔G 1 major 2nd
F➔A 1+1=2 major 3nd
F➔B 1+1+1=3 augmented 4th
F➔C 1+1+1+½=3½ perfect 5th
F➔D 1+1+1+½+1=4½ major 6th
F➔E 1+1+1+½+1+1=5½ major 7th
F➔F 1+1+1+½+1+1+½=6 perfect Octave

 

It is worth noting here that this is the first time that we have encountered a scale with an altered 4th or 5th. These intervals, 4ths and 5ths, do not determine major or minor sounds so we don’t use the terms major or minor to describe them. Instead we use augmented (raised ½ step) or diminished (lowered ½ step). A perfect 4th or 5th is one that has not been altered.

Relationship #3, relation to the root of the key:

Click on the table to get a full view.

(Closer look? Click here)

 

Read Chapter V

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