The modern Lydian musical scale is a rising pattern of pitches comprising three whole tones, a semitone, two more

whole tones, and a final semitone. This sequen ce of pitches roughly describes the fifth of the eight Gregorian (church) modes, known as Mode V or the authentic mode on F, theoretically using B but in practic e more commonly featuring B (Powers 2001). Because of the importance of the major scale in modern music, the Lydian mode is often described (or learned) as the s cale 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. Contents [hide] 1 Theory 1.1 Ancient Greek Lydian 1.2 Medieval Lydian mode 1.3 Modern Lydian mode 1.3.1 Triads within Lydian mode 2 Notable compositions in the Lydian mode 2.1 Classical (Ancient Greek) 2.2 Classical (Modern) 2.3 Jazz 2.4 Popular 3 See also 4 References 5 Further reading 6 External links Theory [edit] Ancient Greek Lydian [edit] Diatonic genus of the Ancient Greek Lydian scale on C Play (helpinfo). Ancient Greek Lydian tonos in the chromatic genus, showing tetrachords (a and b) , note of conjunction (c) and tone of disjunction (d) Play (helpinfo) Ancient Greek Lydian tonos in the enharmonic genus, showing tetrachords (a and b ), note of conjunction (c) and tone of disjunction (d) Play (helpinfo) The name Lydian refers to the ancient kingdom of Lydia in Anatolia. In Greek mus ic theory, there was a Lydian scale or "octave species" extending from parhypate hypaton to trite diezeugmenon, equivalent in the diatonic genus to the medieval and modern Ionian mode, i.e., the modern major scale: C D E F | G A B C (Barber a 1984, 233, 240). In the chromatic and enharmonic genera, the Lydian scale was equivalent to C D E F G A B C, and C C E F F A B C, respectively (Barker 198489, 2: 15), where "" signifies raising the pitch by approximately a quarter tone. The eight Gregorian modes: f indicates 'final' Medieval Lydian mode [edit] In the Middle Ages and Renaissance, this mode was described in two ways. The fir st way is the diatonic octave species from F up to F an octave above, divided at C to produce two segments: FGABC and CDEF. The second is as a mode with a final on F nd an ambitus extending to F an octave higher and in which the note C was regard ed as having an important melodic function. Many theorists of the period observe d that B is used more typically than B in compositions in Lydian mode (Powers 2001 ). Modern Lydian mode [edit] Modern Lydian scale on F Play (helpinfo). The Lydian scale can be described as a major scale with the fourth scale degree

raised a semitone, e.g., a C-major scale with an F rather than F. Triads within Lydian mode [edit] In Lydian mode, the tonic, dominant, and supertonic triads are all major. The su bdominant is diminished. The triads built on the remaining three scale degrees a re minor. Notable compositions in the Lydian mode [edit] Classical (Ancient Greek) [edit] The Paean and Prosodion to the God, familiarly known as the Second Delphic Hymn, composed in 128 BC by Athnaios Athenaou is predominantly in the Lydian tonos, bot h diatonic and chromatic, with sections also in Hypolydian (Phlmann and West 2001 , 85). Classical (Modern) [edit] A rare, extended use of the Lydian mode in the Classical repertoire is Simon Sec hter's 1822 Messe in der lydischen Tonart (Mass in the Lydian Mode) (Carver 2005 , 76). 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 lyd ischen Tonart" ("Holy Song of Thanksgiving by a Convalescent to the Divinity, in the Lydian Mode"). The alternating passages in F use the Lydian scale with shar p fourth scale degree exclusively. 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 (Carver 2005, 7475). Charles-Valenti n Alkan's Allegro barbaro (tude Op. 35, No. 5) is written strictly in F Lydian, w ith no Bs present at all. (Smith 2000,[page needed]). In the 20th century composers began once again to exploit modal scales with some frequency. An example from the middle of the century is the scherzo movement of Carlos Chvez's Symphony No. 3 (195154). The movement opens with a fugue subject, featuring extremely wide leaps, in C Lydian with following entries in F and G Ly dian (Orbn 1987, 9091). Jazz [edit] Pianist-composer George Russell developed a Lydian Chromatic Concept of Tonal Or ganization, which became highly influential in the jazz world, inspiring the wor ks of people such as Miles Davis, John Coltrane, Ornette Coleman, and Woody Shaw (Anon. nd.) Popular [edit] The Simpsons signature tune (Chase 2006,[page needed]). Passage beginning at the words "Much as I definitely enjoy solitude" in the song "Possibly Maybe" by Bjrk (Hein 2012). See also [edit] Lydian chord A chord that is related to the Lydian scale Lydian dominant scale Kalyani (raga), the equivalent scale in Indian classical music