I find that it helps, to look at the Modes in parallel, instead of in a relative fashion. This way, you can compare their similarities, and differences.

I break them down into 3 "families". Major, Minor, and Dominant.

Major Family

Ionian, and Lydian

SIMILARITIES

These have a major 3rd., and a major 7th.

DIFFERENCES

Lydian distinguishes itself, by having a #4.

In the "key" of G Lydian, you can emphasize the chords that have this note in them.

EX. G A B C# D E F#

You don't really start seeing the differences, until you harmonize the scale/mode with chords of 4 or more notes. I'll start with 4 note chords.

I = G B D F# = GM7

II = A C# E G = A7

iii = B D F# A = Bm7

iv = C# E G B = C#m7b5

V = D F# A C# = DM7

vi = E G B D = Em7

vii = F# A C# E = F#m7


Since the #4 is the defining tone, you can see that using the chords that contain the C# will give you the "Lydian Chord Progressions".

These chords are: A7 C#m7b5 DM7 F#m7

We need to add the GM7 chord, as this is the "Key" chord. The Tonic chord, for G Lydian.
Also, as the C#m7b5 is so active, we can basically ignore it. Diminished and Half-Diminished (m7b5) chords usually sound so "unsettled", that they detract from our modal tonality. You [/i]can use them. It's all a matter of personal taste.


So, we end up with these chords: GM7 A7 DM7 F#m7

These chords can really spell out the "G Lydian" sound. You want to resolve everything to the GM7 chord.

Here's a good chord progression to try: DM7 A7 F#m7 GM7

Try taping yourself playing this progression, for about 3 minutes. Then, try playing G Lydian over it.



If any of you try this, let me know what you think. Did it work for you? Am I crazy?

It's cool Swain. I can always count on you to give something to start my practice session.

I just hear it as being in D major though - which is "home" for G lyd.
The C#m7b5 in this case is really just an A9 with the 3rd in the bass - more V chord action to draw "my" ear to D.

A nice stock G lydian progression would be Gmaj7#11 to F-7, back and forth ad infinitum. Slightly reminiscent of the Yellow Jackets "imperial strut" solo section (different key though).

I'll have to try that progression. Was it an Fm7, or an F#m7?

Yeah, I'll have to start trying the C#m7b5 as a Dominant type of chord. That sounds pretty cool.

Thanks! Now I've got to go and actually pick up my guitar! No more web-surfing, tonight.

My mistake ... F#-7.

Whats really cool about that prog is throw all that lydian stuff out and just burn F# minor blues licks. That gets all the 'color' tones of the Gmaj7#11. There's some F# phrygian potential in there but it can be a little cliche' sounding. The straight minor blues is where it's at.