Originally posted by griphon2
B7, Em7, A7, Dma7 is simply a cycle of 5ths. Nothing more or nothing less, in key or out of key. Understanding where the dominants come from is the key to success.

I agree. I was just showing the use of modulation, cause chris had a different chord progression and I was explaining how the idea behind it works. Since we were talking about the lydian dominant, I used that one as an example to get to a major key. The first chord doesn't fit with a D maj scale. The roman numerals would be VI7 - ii - V7 - I, and everyone knows the 6th(VI) in a major scale is minor(vi), the dominant chord also does not fit. Thats the point I was trying to get acrossed, that and the lydian dominant being used. It actually works quiet well when used that way. Maybe you need more chords before that B7 to get it.

Originally posted by griphon2
There are, to me, 2 chords I or i,a place to start, a V, a place to go to, and a i or I, a place to end.

Actually, you should try starting with the V chord. It works quiet well, giving the song a sense of started of with a powerful chord. Beethoven's 5th Symphony starts on the V. Just a suggestion.

The Lydian dominant is a Mixolydian #4 scale, also. As far as I can see anyways.

Take a C lydian dominant scale.
E:------------------
B:------------------
G:------------2-3-5-
D:------2-4-5-------
A:--3-5-------------
E:------------------

Now a C Mixolydian...
E:------------------
B:------------------
G:------------2-3-5-
D:------2-3-5-------
A:--3-5-------------
E:------------------

Now sharp the 4th...
E:------------------
B:------------------
G:------------2-3-5-
D:------2-4-5-------
A:--3-5-------------
E:------------------

Looks right to me. If I missed something let me know.