Year: 2013
Type: article
Abstract: This article reexamines modal techniques in rock music, using the “problematic” Lydian mode as a test case. I argue that the Lydian scale plays a larger role in rock music than has been previously acknowledged, particularly in songs of the 1970s and ’80s. First, I outline a hierarchy of pitches and chords in the scale, which will aid in recognition of Lydian patterns in rock. Then, I address existing controversies surrounding Lydian interpretations of chord progressions, which will be viewed in light of three “tonal stability rules” necessary for convincing Lydian centricity. This will lead to a general theory of “modal tonicization” in rock music, also relevant to the remaining diatonic modes. Finally, I offer a series of analyses of songs by Todd Rundgren, Tears for Fears, and Steely Dan, which will demonstrate some of the musical and expressive potential of Lydian tonality.
DOI: 10.7290/gamutm0rf
Author: Brett Clement
Institution: Ball State University
Language: English
Subfield: Music
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: hybrid
OpenAlex ID: W51743690