Chords in F lydian ♯2

F · G♯° · Am · B° · C+ · Dm · E

The course explains what this page shows in Lesson 19 · Harmonising the scale.

The chords in F lydian ♯2

  1. IFFmaj7
  2. ii°G♯°G♯°7
  3. iiiAmAmMaj7
  4. iv°B°Bm7♭5
  5. V+C+C+maj7
  6. viDmDm7
  7. VIIEE7

The chords of F lydian ♯2 are F, G♯°, Am, B°, C+, Dm and E. With a seventh added they become Fmaj7, G♯°7, AmMaj7, Bm7♭5, C+maj7, Dm7 and E7.

If you stack every other note of F lydian ♯2, starting from each degree in turn, these are the chords you get. Nobody chose them: each one is built from the scale's own notes, arranged in thirds.

Every chord, where it lives

IFii°G♯°iiiAmiv°B°V+C+viDmVIIE
Open11351♭511♯51♭351513
Fret 115131♭31♭51♯513♯51♭3♭351
Fret 22fr1♭3♭3♭52fr1♭35152fr1♭51♭32fr151♭3512fr135151
Fret 33fr1351513fr1♭3♭353fr1♯5133fr151♭3
Fret 44fr1♭51♭34fr151♭354fr1♭31♭54fr131351
Fret 55fr1313515fr151♭35fr1♭3♭3♭55fr13♯515fr151♭35fr1513
Fret 66fr15136fr1♭31♭56fr13♯5
Fret 77fr1♭3♭3♭517fr1♭351517fr1♭51♭37fr133♯57fr1♭35157fr1513
Fret 88fr15138fr1♭5♭318fr1♭3♭3518fr1♯513♯58fr1♭3♭35
Fret 99fr1♭51♭39fr151♭3519fr1♭31♭59fr151♭359fr13515
Fret 1010fr1351510fr151♭310fr1♭3♭3♭5110fr13♯5110fr151♭3
Fret 1111fr1♭51♭311fr1♭5♭3111fr13♯511fr13135
Fret 1212fr133♯51

The grid places seven chords across thirteen home frets on 6-string bass. Every chord is within reach from fret 7 and fret 10.

Read down a column to find one chord all over the neck. Each shape appears once, in the row for the fret it starts on. The line in the margin marks the rows your hand covers from a position where every chord of the key is within reach. In this key those positions are fret 7 and fret 10.

Shapes for each chord

F I
11315131311
G♯° ii°
4fr1♭51♭32fr1♭3♭3♭51♭31♭54fr1♭5♭3
Am iii
5152fr1♭35155fr151♭3
B° iv°
♭51♭51♭3♭5♭51♭5♭3
C+ V+
1♯513♯5113♯51♯513♯5
Dm vi
1♭3511♭3♭3511♭351♭3
E VII
5132fr1351514fr1313514fr151351

These are the most playable shapes for each chord, starting from the lowest position. Every shape fits within the reach of one hand, so none of them needs a finger you do not have.

Progressions in F lydian ♯2

Three chord
  1. IF
  2. iv°B°
  3. V+C+
FIB°iv°C+V+CDCFFEABG♯+2−2−1+2−3

One of the six lines between these chords is flat: that note belongs to both chords, so it stays where it is. No voice moves more than three semitones.

Every one of these chords comes from F lydian ♯2.

Axis
  1. IF
  2. V+C+
  3. viDm
  4. iv°B°
FIC+V+DmviB°iv°CCDDFEFFAG♯AB+2−1+1−1+1+2

Three of the nine lines between these chords are flat: those notes belong to both chords, so they stay where they are. No voice moves more than two semitones.

Every one of these chords comes from F lydian ♯2.

Doo-wop
  1. IF
  2. viDm
  3. iv°B°
  4. V+C+
FIDmviB°iv°C+V+CDDCFFFEAABG♯+2−2−1+2−3

Four of the nine lines between these chords are flat: those notes belong to both chords, so they stay where they are. No voice moves more than three semitones.

Every one of these chords comes from F lydian ♯2.

ii–V–I
  1. ii°7G♯°7
  2. V+maj7C+maj7
  3. Imaj7Fmaj7
G♯°7ii°7C+maj7V+maj7Fmaj7Imaj7DCCFEEG♯G♯FBBA−2−1−3−2

Four of the eight lines between these chords are flat: those notes belong to both chords, so they stay where they are. No voice moves more than three semitones.

These are the third and the seventh of each chord on their own. Together they decide whether a chord is major, minor or dominant, which is why they are called guide tones. If you play only these two notes, you can still hear the chords change. If you play only the root and the fifth, you cannot. Two of the four lines between these chords are flat: those notes belong to both chords, so they stay where they are. No voice moves more than two semitones.

G♯°7ii°7C+maj7V+maj7Fmaj7Imaj7FEEBBA−1−2

Every one of these chords comes from F lydian ♯2.

Rhythm changes
  1. Imaj7Fmaj7
  2. vi7Dm7
  3. ii°7G♯°7
  4. V+maj7C+maj7
Fmaj7Imaj7Dm7vi7G♯°7ii°7C+maj7V+maj7CCBBEDDCFFFEAAG♯G♯−1−2−2−1−1

Seven of the twelve lines between these chords are flat: those notes belong to both chords, so they stay where they are. No voice moves more than two semitones.

This diagram again follows only the guide tones, the third and seventh of each chord. Two of the six lines between these chords are flat: those notes belong to both chords, so they stay where they are. No voice moves more than three semitones.

Fmaj7Imaj7Dm7vi7G♯°7ii°7C+maj7V+maj7EFFEACBB+1−1+3−1

Every one of these chords comes from F lydian ♯2.

Twelve-bar blues
  1. I7F7
  2. I7F7
  3. I7F7
  4. I7F7
  5. IV7B7
  6. IV7B7
  7. I7F7
  8. I7F7
  9. V7C7
  10. IV7B7
  11. I7F7
  12. V7C7
F7I7B7IV7F7I7C7V7B7IV7F7I7C7V7CBCCBCCE♭D♯E♭ED♯E♭EFF♯FGF♯FGAAAB♭AAB♭−1+1−1+1+1−1+1+1−1+2−1−1+2+1−1+1

Eight of the 24 lines between these chords are flat: those notes belong to both chords, so they stay where they are. No voice moves more than two semitones. The progression lasts twelve bars, but a repeated chord is not a change, so the ladder shows only the six places where the harmony moves.

This diagram again follows only the guide tones, the third and seventh of each chord. Six of the twelve lines between these chords are flat: those notes belong to both chords, so they stay where they are. No voice moves more than one semitone. The progression lasts twelve bars, but a repeated chord is not a change, so the ladder shows only the six places where the harmony moves.

F7I7B7IV7F7I7C7V7B7IV7F7I7C7V7E♭D♯E♭ED♯E♭EAAAB♭AAB♭+1−1+1+1−1+1

None of these chords belongs entirely to F lydian ♯2: all three of them use notes the key does not contain (E♭, D♯, F♯, G and B♭). No single key contains all of them. Every one is a dominant seventh, and a dominant seventh pulls towards the chord whose root is a fifth below its own, one step anticlockwise on the circle (F7 → B♭, B7 → E, C7 → F). A chord drawn dashed, here and on the circle, goes outside the key.

There are six progressions in F lydian ♯2, including Three chord (F B° C+) and Axis (F C+ Dm B°).

Each row is one progression. It is written first in roman numerals, which name each chord by the degree of the scale it is built on, and then as the chords those numerals stand for in this key. A dashed outline means the chord borrows a note that F lydian ♯2 does not contain. Under each progression, a diagram follows every note from one chord to the next. A flat line is a note that stays where it is, and a sloped line is labelled with the number of semitones the note moves.

F lydian ♯2 on the circle of fifths

—1♯2♯3♯4♯5♯6♯5♭4♭3♭2♭1♭C+V+AmiiiGEmDBmAF♯mEVIIC♯mB°iv°G♯mF♯D♯mD♭B♭mG♯°ii°FmE♭CmB♭GmFIDmviF Lydian ♯2no ♯ or ♭

Each step clockwise around the wheel moves up a perfect fifth and adds a sharp to the key signature, or takes a flat away. The small numbers around the rim show each key's signature. F lydian ♯2 has no sharps or flats in its key signature. Its G♯ is not part of the signature, so it is written as an accidental each time it appears.

Why the chords land where they do

The two rings work in pairs. Each minor key on the inner ring is the relative minor of the major key just outside it: the two are built from the same seven notes and share a key signature. C major and A minor are one such pair.

Its two major chords, F and E (the I and VII), sit five steps apart on the outer ring rather than side by side. Its two minor chords, Am and Dm (the iii and vi), sit together on the inner ring. That accounts for four of the seven chords, and no single block contains them.

The other three chords sit apart and are outlined on their own. G♯°, the ii°, is three steps from the nearest chord in the group. B°, the iv°, is one step from the nearest chord in the group. C+, the V+, shares a spoke with Am.

The wheel is still a map of harmonic distance, but this scale covers more of it than a major key does. Chords that sit close together sound as though they belong to one key, while each of the three that sit apart sounds like a departure. That sense of movement is a large part of this scale's character.

One step, on the neck

On the guitar, a perfect fifth is a shape you already know: the power chord. Play a root, then the note two frets higher on the next string up. Here it starts on F.

BEADGC67891011FCG

Now think of it as a chain. The C you are already fretting is the fifth of F, and it is also the root of the next chord clockwise. Play the same shape starting from C and you reach G. F → C → G is two steps around the wheel, and the same movement repeated up the neck.

Every pair of strings in this tuning is a fourth apart, so the shape stays the same wherever you play it.

F lydian ♯2 has no sharps or flats in its key signature. Its G♯ is written as an accidental. Four of its chords sit close together on the circle of fifths, and three sit apart.

Four of F lydian ♯2's seven chords sit near each other on the wheel, and three sit apart.