C#

Exotic Scale

C# / D♭ Lydian Dominant

Mode IV of melodic minor. Raised 4th + flat 7th — bright, jazzy, sophisticated.

Notes in C# Lydian Dominant

Db1
Eb2
F3
G4
Ab5
Bb6
B7
Db8

Chords in C# Lydian Dominant

7 diatonic chords
DegreeChordNotesQuality
IDbDb – F – Abmajor
IIEbEb – G – Bbmajor
iiiF°F – Ab – Bdiminished
ivG°G – Bb – Dbdiminished
vAbmAb – B – Ebminor
viBbmBb – Db – Fminor
VIIB+B – Eb – Gaugmented

Other Scales in C#

MajorDb, Eb, F, Gb, Ab, Bb, CNatural MinorDb, Eb, E, Gb, Ab, A, BHarmonic MinorDb, Eb, E, Gb, Ab, A, CMelodic MinorDb, Eb, E, Gb, Ab, Bb, CDorianDb, Eb, E, Gb, Ab, Bb, BPhrygianDb, D, E, Gb, Ab, A, BLydianDb, Eb, F, G, Ab, Bb, CMixolydianDb, Eb, F, Gb, Ab, Bb, BLocrianDb, D, E, Gb, G, A, BMajor PentatonicDb, Eb, F, Ab, BbMinor PentatonicDb, E, Gb, Ab, BBluesDb, E, Gb, G, Ab, BWhole ToneDb, Eb, F, G, A, BDiminished (H-W)Db, D, E, F, G, Ab, Bb, BDiminished (W-H)Db, Eb, E, Gb, G, A, Bb, CPhrygian DominantDb, D, F, Gb, Ab, A, BHungarian MinorDb, Eb, E, G, Ab, A, C

Lydian Dominant in All 12 Keys

CC D E F# G A A#C#D♭Db Eb F G Ab Bb BDD E F# G# A B CD#E♭Eb F G A Bb C DbEE F# G# A# B C# DFF G A B C D EbF#G♭F# G# A# C C# D# EGG A B C# D E FG#A♭Ab Bb C D Eb F GbAA B C# D# E F# GA#B♭Bb C D E F G AbBB C# D# F F# G# A

Practice by Ear

Scale RecognitionIdentify the Lydian Dominant scale by ear →Play C# Lydian DominantHear the scale and practice recognising it →Chord Recognition TrainerIdentify the chords above by ear →Progression TrainerIdentify common progressions in this key →

Chords in C# / Db Lydian Dominant

The C# lydian dominant scale contains the notes Db, Eb, F, G, Ab, Bb, B. Mode IV of melodic minor. Raised 4th + flat 7th — bright, jazzy, sophisticated.

The diatonic chords in C# lydian dominant are Db (I), Eb (II), F° (iii), G° (iv), Abm (v), Bbm (vi), B+ (VII). These are the chords you can use when writing or improvising in this key — every note in each chord belongs to the C# lydian dominant scale.

To develop your ear for the C# lydian dominant sound, use the scale and chord trainers linked above. Being able to recognise these sounds by ear — not just read them from a chart — is what separates musicians who truly hear music from those who only read it.