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We overhere grew up with the blues and we heard it in everything we did, even the church music that turned us on the most wasn't those dried up old fig mixolydian and lydian modes from the white church--snoring songs, I call them, but rather the powerful swinging blues-developed gospel hymns of the swinging black choirs and the lead vocalists those choirs carried with them.
A lydian in first 4 measures and D aeolian in next 4 measures.
Once I have a newer section mastered satisfactorily (almost there with the lydian stuff), my intention is to put it in the rotation, coming around to it every 6 days.
+ Selectible scales. (chromatic, ionian, dorian, phrygain, lydian, locrian) You have to regenerate the bank to hear the difference.
How are modes typically applied to chord progressions? for example I've noticed that a typical chord progression in the lydian mode within the pop style is something like, C maj, Dmaj/C and a typical characteristic lydian chord extension is the maj7#11
What if I play a static melody and shift it from dorian to lydian?