Package leaflet · Information for the musician · Scale
C Lydian Dominant Scale
Bright, bluesy and modern. A dominant sound with a raised fourth that gives it a shimmering, slightly unexpected lift.
- 7 notes
- 1 ♯, 1 ♭
- jazz
1Composition: what it contains
C – D – E – F♯ – G – A – B♭
- Formula
- 1 2 3 ♯4 5 6 ♭7
- Steps
- W – W – W – H – W – H – W
- Number of notes
- 7
- Sharps and flats
- 1 ♯, 1 ♭
- Also called
- Lydian ♭7, overtone scale, acoustic scale, Mixolydian ♯4, fourth mode of melodic minor
| Degree | Note | Interval | Semitones |
|---|---|---|---|
| 1 | C | unison | 0 |
| 2 | D | major second | 2 |
| 3 | E | major third | 4 |
| ♯4 | F♯ | augmented fourth | 6 |
| 5 | G | perfect fifth | 7 |
| 6 | A | major sixth | 9 |
| ♭7 | B♭ | minor seventh | 10 |
2Appearance: diagrams and sound
Tip: click any note, key or fret to hear it. Orange = root.
3Indications: what it is used for
The fourth mode of the melodic minor scale (1-2-3-♯4-5-6-♭7). Use it over dominant seventh chords with a ♯11 (7♯11, 9♯11, 13♯11), especially non-resolving dominants: the ♭VII7 in a minor or major key, the II7 chord, tritone substitutions (♭II7 resolving to I) and the IV7 chord in a blues. It suits jazz, fusion, Brazilian music and cartoon or film scores. Its first notes closely follow the harmonic series, which is why it sounds natural despite the ♯4.
4Dosage: how to practise it
Ten minutes daily at 70–110 BPM over a 7♯11 chord vamp. Play the scale in thirds and in four-note groups, and practise the triad pair built on degrees 1 and 2 (a major triad and the major triad a whole step above). On guitar, learn three-notes-per-string patterns. On piano, voice the chord as 1-3-♭7 in the left hand with 9 and ♯11 on top. Practise tritone-substitution ii–♭II7–I progressions, using this scale on the substitute dominant.
5Warnings and common mistakes
Do not use it over a dominant chord with a sus4 or a plain 4 in the melody: the ♯4 will clash. When the dominant resolves strongly to a minor chord, altered or phrygian dominant scales usually fit better. Do not confuse it with Lydian (major seventh) or Mixolydian (natural fourth). Spell the raised fourth as ♯4/♯11, not ♭5, because the fifth is still present.
6Interactions with chords, scales and keys
Chords of the scale (triads)
| Degree | Chord | Notes | Listen |
|---|---|---|---|
| I | C | C – E – G | |
| II | D | D – F♯ – A | |
| iii° | Edim | E – G – B♭ | |
| ♯iv° | F♯dim | F♯ – A – C | |
| v | Gm | G – B♭ – D | |
| vi | Am | A – C – E | |
| ♭VII+ | B♭aug | B♭ – D – F♯ |
Chords of the scale (seventh chords)
| Degree | Chord | Notes | Listen |
|---|---|---|---|
| I7 | C7 | C – E – G – B♭ | |
| II7 | D7 | D – F♯ – A – C | |
| iiiø7 | Em7♭5 | E – G – B♭ – D | |
| ♯ivø7 | F♯m7♭5 | F♯ – A – C – E | |
| v(maj7) | Gm(maj7) | G – B♭ – D – F♯ | |
| vi7 | Am7 | A – C – E – G | |
| ♭VII+maj7 | B♭+maj7 | B♭ – D – F♯ – A |
Same notes, different starting point
7Other presentations available
The same scale from every note
- D flat Lydian Dominant Scale
- D Lydian Dominant Scale
- E flat Lydian Dominant Scale
- E Lydian Dominant Scale
- F Lydian Dominant Scale
- F sharp Lydian Dominant Scale
- G Lydian Dominant Scale
- A flat Lydian Dominant Scale
- A Lydian Dominant Scale
- B flat Lydian Dominant Scale
- B Lydian Dominant Scale
Other scales from the same note
- C Major Scale
- C Natural Minor Scale
- C Harmonic Minor Scale
- C Melodic Minor Scale
- C Dorian Mode
- C Phrygian Mode
- C Lydian Mode
- C Mixolydian Mode
- C Locrian Mode
- C Major Pentatonic Scale
- C Minor Pentatonic Scale
- C Blues Scale
- C Major Blues Scale
- C Whole Tone Scale
- C Half-Whole Diminished Scale
- C Whole-Half Diminished Scale
- C Phrygian Dominant Scale
- C Hungarian Minor Scale
- C Altered Scale
- C Double Harmonic Major Scale
- C Bebop Dominant Scale
Read this leaflet carefully before playing. Keep it near your instrument. Free to use, print and share for personal and educational use.