Originally Posted by: kin_nanaketdicorrect me if im wrong but what i understand is..when using mode...like noticingmistake progression (C-F-G7) you mean to use lydian mode you shoud start at E and it shoud be your root note? (wrong?)..

Using the E lydian scale over the progression C F G7 is gonna cause you alot of confliction. Take the chords C F G7 and see what notes are in those chords.

C - C E G
F - F A C
G7 - G B D F

Now here's the E lydian scale. E F# G# A# B C# D#.

There are only 2 common notes, E and B. So making this scale fit with the chords and making a good sounding solo out of it will be difficult if not impossible. It would sound like you were playing the solo in a completely different key than the chord progression.

what im doing attack to the progression(C-F-G7) is C lydian mode...is this correct or i should take E...im a bit bitch...

Using C lydian over the chord progression would work. When comparing the notes between the scale and the chords, they are much more compatiable. C lydian over the C major chord will work brilliantly. And although the F is an F#, A and C (F major chord) are still in the C lydian scale. SO you still have somewhere to go. In the G7 chord the same difference occurs, the F in the G7 is natural. While in the C lydian scale it is sharp (F#). But then again there are three other notes in common. G B and D are in the C lydian scale.

Remember what I said, it's all about compatiability. Any major mode will work with any major chord, and so on. Since C F G7 are all major chords and the lydian mode is a major mode. Very little conflict occurs.

You could even use C mixolydian over that chord progression. Bb is the only difference and the note B only occurs in the G7 chord. Then again Bb is the "b3" or "major blues note" over a G7 chord. So it is acceptable. You will find that alot of rock solos use this example of soloing in C mixolydian over the progression C F G7 (or any sequence in C major).

The C lydian scale over the progression C F G7 is used more in metal and harder or bluesier rock. Like the example given, Steve Vai.

I know it's alot to swallow but if you learn this, alot of possibilities will open up to you. Even how to break the fundamental rule I first stated. Even to know how to make a mode like E lydian work with a chord sequence in C major. But that's a how other chapter.