Lydian Dominant Scale

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The fourth mode of the melodic minor scale is known as the lydian dominant scale. This name derives from the fact the scale outlines a dominant seventh chord but also contains the raised fourth, characteristic of the lydian mode:

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The raised fourth is the only difference between this scale and the mixolydian mode. The raised fourth is less dissonant, and more colorful, than the natural fourth over an ordinary dominant seventh chord:

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Therefore, the lydian dominant scale is often preferred over the mixolydian mode over any dominant seventh chord, unless the natural fourth is explicitly specified, as in a sus chord. The lydian dominant scale is always preferred if the raised fourth is explicitly specified, as in dominant seventh sharp eleven chord:

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Because the raised fourth is enharmonic with the lowered fifth, this chord is often notated 7b5 rather than 7#11. Some arrangers, however, intend the notation 7b5 to indicate a different scale, such as the diminished scale or the whole tone scale, to be discussed later.

The sound of the raised fourth - or, enharmonically, the flat fifth, which is how the majority of musicians referred to it - is characteristic of bebop. In fact, one story is that word bebop itself came from the following phrase, which was played by many bebop musicians, and which might be pronounced "be-bop" if one were to try to sing it:

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Back in the 1940's, this was considered extremely dissonant, and was the source of considerable controversy. Today, however, most musicians and listeners have become accustomed to this sound and it no longer seems so harsh.

Copyright 2000 Outside Shore Music
Authored by Marc Sabatella

Lydian Dominant Scale