[2] In the chromatic and enharmonic genera, the Lydian scale was equivalent to C D♭ E F G♭ A B C, and C C E F F A B C, respectively,[3] where "" signifies raising the pitch by approximately a quarter tone.
Alternatively, it can be written as the pattern The Paean and Prosodion to the God, familiarly known as the Second Delphic Hymn, composed in 128 BC by Athénaios Athenaíou is predominantly in the Lydian tonos, both diatonic and chromatic, with sections also in Hypolydian.
132 (1825), titled by the composer "Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" ("Holy Song of Thanksgiving by a Convalescent to the Divinity, in the Lydian Mode").
[7] Anton Bruckner employed the sharpened fourth of the Lydian scale in his motet Os justi (1879) more strictly than Renaissance composers ever did when writing in this mode.
This ode to Lydia - by Parnassian poet Leconte de Lisle - starts, appropriately, in the Lydian mode and, in F, has a raised 4th (B natural) in the first line of the melody.
George Enescu, for example, includes Lydian-mode passages in the second and third movements of his 1906 Decet for Winds, Op.
[11] In Lydian Chromatic Concept of Tonal Organization, George Russell developed a theory that became highly influential in the jazz world, inspiring the works of people such as Miles Davis, John Coltrane, Ornette Coleman, and Woody Shaw.
[12] In practical terms it should be said that few rock songs that use modes such as the phrygian, Lydian, or locrian actually maintain a harmony rigorously fixed on them.