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So far, we have introduced three modes: Dorian, Mixolydian, and Phrygian. Now, the remaining ones are the “Lydian” and the “Locrian”, but…Both of them have quite unique sounds and their applications in the world of popular music are considerably limited compared to the other three, so I will summarize and introduce them within this article.
1. Lydian Mode
The Lydian mode is a major-type scale. First, let’s confirm the “characteristic note” that determines the difference from the major scale.
The note of the fourth degree sharpened defines the Lydian scale. Similar to the Dorian mode, it involves the disappearance of the downward tendency tone. The half-step resolution line from fa to mi disappears, creating a somewhat floating feeling.
Since there is one more sharp, it is necessary to firmly maintain to avoid confusion with a key that has one more sharp. For example, if it’s in the key of C major, there is a risk of it sounding like the key of G major.
Difficulties of the Lydian Mode
The difficulty of the Lydian mode lies in the formation of a tritone between do and fa♯,arising when simultaneously emphasizing the “tonic” and the “characteristic note”, which are both essential for modal music.
This do–fa♯ interval is problematic. In Western music theory, tritones like this one tend to resolve by moving each half step to become “ti–so,” creating a pattern of resolution.
If it were to move in this way, it would unmistakably establish the tonality of the G major key. Even if it doesn’t resolve so overtly, the do–fa♯ interval always gives off an aroma reminiscent of the dominant function. Therefore, compared to the modes we have introduced so far, there is a demand for composition in a state where tonality is considerably challenged.
For example, considering the methodologies discussed earlier, if you fix the bass at C and incorporate a “characteristic chord” containing F♯—for instance, something like D major chord—the modal atmosphere should emerge abundantly…
- CD/C Repeat
Even with all of this, there are still moments where it might feel more like IV than I. The presence of the C-F♯ interval forming a D/C chord contributes to make it sounds like a domint functioning chord. Additionally, we have become quite accustomed to music that repeats IVV without resolving to the tonic, making it difficult for us to perceive this C as the tonic.
To make Lydian sound truly Lydian to our ears accustomed to such popular music, support through melodic composition is crucial, not just in chord progressions.
Good Example
The opening section of the BGM “Yoshi’s Song” from the game “Yoshi’s Story,” Stage 1-1, is a well-crafted piece that has made the Lydian mode actually work. The composition is free of any unnecessary elements, with the bass at the beginning emphasizing the centrality of do through a repetitive do–so pattern. On the other hand, the melody starts with fa♯, creating a potential “do–fa♯ tension” with the bass. However, it quickly descends to mi, emphasizing that fa♯ is not a leading tone to so. This transition is very skillful, giving the impression that this fa♯-mi originates from fa–mi, a standard motion in the major scale.
According to the principles of tonality, smoothly progressing from fa♯ to so with a half-step difference is expected. However, doing so would strengthen so‘s centrality. By deliberately moving to mi, a sense of “mi as a stable note” emerges, reinforcing the recognition that the center is not so but do…
As such careful handling is necessary for its successful execution, making it challenging to showcase various patterns and develop the composition. In this song, the Mixolydian mode is introduced later, and transitions to conventional major key music are employed to further expand the piece.
2. Locrian Mode
The remaining Locrian mode is a minor-type scale. It shares a heavy feel with Phrygian, so let’s compare them side by side.
As you can see, when the minor scale becomes one step darker, it becomes Phrygian, and one step darker from there is the Locrian mode. The “perfect 5th” has changed to a “diminished 5th.”
Challenges of the Locrian Mode
Since the 5th note of the scale is altered, when constructing a chord from the tonic in Locrian mode using the “BBQ” style, a regular minor chord does not form. It turns into a special chord introduced in Chord Chapter III—the minor flat five chord.
Therefore, unlike other modes, the “golden equation” of simply repeating the tonic chord to establish the chordal center does not apply here. Even if you play the primary chord, tonal clarity is not firmly established. In this regard, the Locrian mode is a more unique and challenging existence compared to others.
Tips for the Locrian Mode
To create a complete composition in the Locrian mode, it would be necessary to shape the music through the layering and repetition of phrases rather than using the classical system of “chords in 3rd-interval-stack and their progressions.”
By continuously layering phrases centered around the modal tonic like this, you can make the listener recognize the intended tonal center. The mode has a sound even heavier and more solemn than Phrygian.
The key point in creating melodies is to cleverly use the tones common to the minor scale, which are easy to incorporate into phrases—Especially the 3rd, 4th, and 7th notes.
By skillfully incorporating these three tones, you can make the listener feel the right center.
Here is an example of the Locrian mode used in EDM. It skillfully connects the challenging character note, giving it a “blue note” vibe with a mischievous and dark feel.
Here’s an example of its use in metal. The guitar solo mainly revolves around the usual minor scale soloing, but the power chords played on the side are in Locrian mode. The tritone interval created by the root and the characteristic note is known as “Diabolus in Musica”, “the Devil in Music”, and its demonic sound fits perfectly with metal.
Now, we have covered the explanation of the church modes. However, there are still other ways of using Dorian, Mixolydian, and Phrygian that haven’t been introduced yet. So, from this point on, in a summary of the past few sections, we will review the characteristics of the three modes and simultaneously introduce their remaining aspects.
