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The Lydian scale can be described as a major scale with the fourth scale degree raised a semitone, making it an augmented fourth above the tonic; e.g., an F-major scale with a B ♮ rather than B ♭. That is, the Lydian mode has the following formula:
Lydian augmented scale: Lydian augmented scale on C. Play ... Slendro on C compared to a whole tone scale on C. Play ...
In music, the Lydian augmented scale (Lydian ♯ 5 scale) is the third mode of the ascending melodic minor scale. Starting on C, the notes would be as follows: Audio playback is not supported in your browser.
Lydian mode on C Play ⓘ. Thirteenth chord constructed from notes of the Lydian mode. Play ⓘ Russell's original six Lydian scales [1] The Lydian Chromatic Concept of Tonal Organization is a 1953 jazz music theory book written by George Russell. The book is the founding text of the Lydian Chromatic Concept (LCC), or Lydian Chromatic Theory (LCT).
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The bold notes spell out an acoustic scale on C 4. However, in the harmonic series, the notes marked with asterisks are out of tune: F 4 * (Play ⓘ) is almost exactly halfway between F ♮ 4 and F ♯ 4, A ♭ 4 * (Play ⓘ) is closer to A ♭ 4 than A ♮ 4, and B ♭ 4 * is too flat to be generally accepted as part of an equal tempered scale.
Figure 1: 19-TET on the syntonic temperament's tuning continuum at P5= 694.737 cents [1]. In music, 19 equal temperament, called 19 TET, 19 EDO ("Equal Division of the Octave"), 19-ED2 ("Equal Division of 2:1) or 19 ET, is the tempered scale derived by dividing the octave into 19 equal steps (equal frequency ratios).
This is often interpreted as a quartal hexachord consisting of an augmented fourth, diminished fourth, augmented fourth, and two perfect fourths.The chord is related to other pitch collections, such as being a hexatonic subset of the overtone scale, also known in jazz circles as the Lydian dominant scale, lacking the perfect fifth.