Package leaflet · Information for the musician · Scale

G flat Lydian Mode

Bright, floating and dreamy. The raised fourth removes the only 'avoid note' of the major scale, so the sound feels open, magical and slightly unresolved.

7 notes
5 ♭
mode

1Composition: what it contains

G♭ – A♭ – B♭ – C – D♭ – E♭ – F

Formula: 1 2 3 ♯4 5 6 7
Steps: W – W – W – H – W – W – H
Number of notes: 7
Sharps and flats: 5 ♭
Also called: fourth mode of the major scale, Lydian ♯4

Degree	Note	Interval	Semitones	Function
1	G♭	unison	0	tonic
2	A♭	major second	2	supertonic
3	B♭	major third	4	mediant
♯4	C	augmented fourth	6	subdominant
5	D♭	perfect fifth	7	dominant
6	E♭	major sixth	9	submediant
7	F	major seventh	11	leading tone

2Appearance: diagrams and sound

Treble clef

Bass clef

Piano keyboard

Guitar (standard tuning E A D G B E)

Bass guitar (E A D G)

Ukulele (G C E A)

Tip: click any note, key or fret to hear it. Orange = root.

3Indications: what it is used for

Loved by film and game composers for wonder and flight, and by jazz and fusion players over major seventh chords with a ♯11. It fits the IV chord of a major key (it is the fourth mode of the major scale), progressions like I–II (major chord to major chord a whole step up) that define the mode, and static major vamps. Over a maj7♯11 or a maj7 chord on the tonic it is the jazz player's preferred choice because the raised fourth can be held without clashing with the major third.

4Dosage: how to practise it

Ten minutes daily over a loop of the I chord moving to the major II chord at 70–90 BPM. Sing or play the raised fourth against the root to memorise its colour. Practise two-octave runs, diatonic thirds and triad arpeggios built on each degree (especially the major triads on 1 and 2). On guitar, learn three-notes-per-string shapes and use ringing open strings or legato for a shimmering sound. On piano, voice the tonic as a major seventh chord with the ♯11 on top and improvise with the right hand.

5Warnings and common mistakes

Do not play it over a dominant seventh chord: you need the Lydian dominant for that (flat seventh). The raised fourth can sound like a wrong note to listeners expecting a plain major key, so make the mode clear with the harmony. Do not confuse it with the major scale starting on another note: think of the tonal centre. Over a sus4 chord the raised fourth clashes directly with the chord tone.

6Interactions with chords, scales and keys

Chords of the scale (triads)

Degree	Chord	Notes
I	G♭	G♭ – B♭ – D♭
II	A♭	A♭ – C – E♭
iii	B♭m	B♭ – D♭ – F
♯iv°	Cdim	C – E♭ – G♭
V	D♭	D♭ – F – A♭
vi	E♭m	E♭ – G♭ – B♭
vii	Fm	F – A♭ – C

Chords of the scale (seventh chords)

Degree	Chord	Notes
Imaj7	G♭maj7	G♭ – B♭ – D♭ – F
II7	A♭7	A♭ – C – E♭ – G♭
iii7	B♭m7	B♭ – D♭ – F – A♭
♯ivø7	Cm7♭5	C – E♭ – G♭ – B♭
Vmaj7	D♭maj7	D♭ – F – A♭ – C
vi7	E♭m7	E♭ – G♭ – B♭ – D♭
vii7	Fm7	F – A♭ – C – E♭

Same notes, different starting point

Read this leaflet carefully before playing. Keep it near your instrument. Free to use, print and share for personal and educational use.

G flat Lydian Mode

1Composition: what it contains

2Appearance: diagrams and sound

3Indications: what it is used for

4Dosage: how to practise it

5Warnings and common mistakes

6Interactions with chords, scales and keys

Chords of the scale (triads)

Chords of the scale (seventh chords)

Same notes, different starting point

7Other presentations available

The same scale from every note

Other scales from the same note