Formula
- Degrees: 1 #2 3 #4 5 6 7.
- Steps: 1½ S T S T T S (3 1 2 1 2 2 1 semitones).
- Parent scale: 6th mode of harmonic minor. F Lydian #2 = notes of A harmonic minor starting on F: F G# A B C D E.
- On C: C D# E F# G A B (from E harmonic minor). On Ab: Ab B C D Eb F G (from C harmonic minor): the natural B is the #2, that is, the raised Bb.
In jazz symbols the #9 is written as such (Abmaj7(#9)), although in parts it is sometimes found written enharmonically (Cb).
Characteristic note and color
The #2 (#9) together with the #4 of Lydian: the scale opens with an augmented 2nd from the tonic. Color: bright and mysterious, “exotic-dreamy”, very brilliant but with a shadow.
Diatonic chords (C Lydian #2)
| Degree | Triad | Seventh |
|---|---|---|
| I | C | Cmaj7 |
| #ii° | D#° | D#°7 |
| iii | Em | Em(maj7) |
| #iv° | F#° | F#ø7 |
| V+ | G+ | Gmaj7#5 |
| vi | Am | Am7 |
| VII | B | B7 |
Signature chord: Imaj7 with #9 and #11 (Cmaj7#9#11 = C E G B D# F#).
Where it is used (chord-scale)
- bVImaj7 in a harmonic minor key: in A minor, Fmaj7 (F A C E) with G# as a tension (#9). Over Fmaj7, the scale of the key of A harmonic minor is precisely F Lydian #2. In the progression i – bVI – V (Am – F – E) the G# over F anticipates the leading tone of the dominant.
- Imaj7 with an exotic color in modal pieces, soundtracks, fusion.
Use in genres
- Neoclassical metal and progressive: arpeggios and phrases from the 6th degree of harmonic minor.
- Film and video game music: fantasy settings, faraway worlds; the maj7 chord with #9 is “bright but strange”.
- Modern jazz and fusion: as a color for maj7 with #9 (often in quartal voicings that include the #9).
- Traditional music: similar modes appear in some Middle Eastern and Indian traditions, but with their own intonation.
Melodies
- The phrase 1 – #2 – 3 (C – D# – E) sounds like a chromatic appoggiatura from the #9 to the 3rd: it is the most natural way to use the #2.
- #4 – 5 and 7 – 1 complete the Lydian color.
Common mistakes
- Writing the #2 as a b3 (Eb): it changes the function and the name of the chord (it becomes minor).
- Holding the #9 over a major chord in a low register: it turns muddy; keep it above the 3rd, in the mid-to-high register.
- Using it over a maj7 in a tonal major progression: the #9 and the #11 do not belong to the key.
Exercise
- Progression Am – Fmaj7 – E7 – Am: over Fmaj7 play F G# A B C D E and resolve G# to A.
- Cmaj7#11 pad with the melody D# – E – F# – G: listen to the color.
- Write a 16-bar fantasy cue in C Lydian #2 with a C pedal.
Related
Harmonic minor and its modes; Lydian mode; Ninth chords (#9); Scales for film music; Chord-scale theory.