Understanding Modes Part 4: Lydian

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Part 4 of the video series on how to play and understanding modes on guitar focuses on the Lydian mode. The 4th mode of any major key offers up a distinctive sharp 4 sound and leads to a Major 7th chord.

Learn the scale shape and also hear the difference in atmosphere that sharp 4 can create with guitar chords.

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Sean the example you played in the difference in the flat 5 and sharpened 4, was the best breakdown and example of how different modes matter and are unique. i have made it through your first 4 videos, and just as you opened up the first video with saying that you had been taught modes 100 times with it not really ever sticking, this was my problem as well. Your videos are by far the smoothest explanation of using modes I have seen. Thank you.

matthew penney

colesammie

I'm actually a mechanical engineer learning to play the guitar. Your videos are the most helpful to get a grip on the whole theory. Even as a beginner I find this of utmost importance. It's also very enjoyable, probably because I like theory in general. Thanks again and greetings from Holland.

bigbattenberg

This is the most helpful series I've found on modes! Thanks!!

PavanVemuri-pc

May the Lord bless you richly the gift He has given to you in the Ministry of music for His glory ... Amen / pastor r m Kharshandi with gratitude. Jaiaw Shillong Meghalaya India

rodrickmarch

These are the best videos on modes on the net, thanks for making this!

ollieify

I have a tip for anyone struggling with writing modal accompaniments. The problem with modes is when your music begins to drift away into the parent major scale. A solution to that problem would to create a tonal center. For example, if you want to write a piece of music in F Lydian mode, then drone the note F over the entire section of music, repeat the note F most often, place the note F on strong beats of the measure, end the section on the note F, etc. Again, these solutions help you create a tonal center for accompaniment patterns such modal vamps, basslines, riffs, etc.

TheArrangment

I'm going to have to go back and drop a like on the other three. This is the clearest explanation of beginner modal theory I've found. Well I'm with it up to this point anyway! Thanks Sean, Subbed

grooveroid

This is a really really valuable lesson. Thank you.

ubilockon

Thanks man. This has really helped things click with me finally! 🕺

Shindaroo

Hey Sean! The modes continue to confuse the hell out of me :/
So here's where I'm kinda So, are modes like a feel thing? Like if I'm playing a chord progression in Cmajor and don't want to play something major sounding I could pick and choose a different mode to give it that different type of vibe? Or does the actual chords in the progression dictate which modes I can choose?
Ok that's my first question... Bare with me lol.
My second question is, is each mode a different scale shape? Or is it just the major scale starting on a different root?
My last question(s) is how do modes work within the pentatonic scale and do modes work the same way in minor keys?

deeveeuhs

So really modes are just all positions of the major scale, but they're given a name as sort of a signature? And so that you can remember the shape that goes with it

Jefradaa

And that exemplifies the answer about Locrian mode.

spektaloza

Hey just one question about the modes that has me stumped! I was told before that to figure out the modes you can just start at whatever degree of the scale that particular mode is, so in this case F is the 4th degree of the C Major scale so I was under the impression that I could just go to any of the 5 positions of the C major scale and start on an F continuing as normal from there and I'd have lydian or whatever mode based off whatever scale degree I started on. However I realise if I were to do this I wouldn't encounter the sharp 4 for example of lydian if I were to simply play from F across to octaves. I know this is probably a very confusing and maybe dumb question but yeah I'm not really sure what way I should approach this?

filmbuffturk

I saw that playing the C arpeggio along with F made C sound odd/wrong....but why?...What if I was in a scale where C was the 4th mode and I make use of the Lydian mode for C...It will sound the same odd way, isn't it?!..

MrUbercool

It really confuses me that Lydian overlaps Phrygian so much, since you don't gain much in terms of learning a new section of the fretboard. Am I missing something?

delcapslock