Changing mode mid-song

What I"m attempting to do may be a bad idea, but I'd like to change my song's mode. I want to change it from regular Ionian, C# Major, to Lydian Dominant. Are there any tips on how to make this a smooth transition, ie... which note should be my new tonic, or what cadence should I use before the change?

Lydian dominant (major #4 b7) is basically mixolydian which is basically major. You could treat modulation into the new mode as any other modulation into a new major key.

I'm hardpressed to think of how this "mode" in such a situation would be treated in real life, because lydian dominant isn't a mode, per se; it's really an altered scale. It's a 'mode' built 4th degree of a melodic minor scale, but it's used as a jazz improvisational scale for its lack of the avoid note in the scale built on the dominant. To my knowledge it's not used as a mode to write a piece in.

So my guess would be that it's really up to you to decide how to treat it. I'd treat it major.

"You could treat modulation into the new mode as any other modulation into a new major key."

I don't know if I remember this correctly... should I make the new tonic a note adjacent to Db Major on the circle of fifths, since C# isn't on there? Ab or Gb/F# ?

Lydian dominant is basically mixolydian which is basically major.

*cringe*

:pinch:

My rather weak jazz senses tell me something is wrong with saying Lydian dominant is major... as for changing mode mid-song, just... switch modes, it's not that brutal of a transition going from say, C Major to F Lydian Dominant over a iim7 or IV7, or a G Lydian Dominant over a V7.

"C Major to F Lydian Dominant over a iim7 or IV7, or a G Lydian Dominant over a V7"

alright thanks PF

If what you say is true, then I should be able to go from Ionian, C# Major, to F# Lydian Dominant over a iim7 or IV7

or from Ionian, C# Major, to G# Lydian Dominant over a V7

lol did I get that right?

PF, you're completely right.

I was speaking solely in the sense that we've modulated. Lydian dominant/lydian b7/mixolydian #4 is a "major mode" like phrygian and dorian are "minor modes." But Ness didn't care to establish a new modality like I assumed. My bad. :)

Yes, Ness, you have it.

My rather weak jazz senses tell me something is wrong with saying Lydian dominant is major...

;)

"dominant is major" ...

Should read: "Dominant is not major, it is dominant."

;)

"dominant is major" ...

Should read: "Dominant is not major, it is dominant."

However, Locrian is recognized in jazz theory as the preferred mode to play over a iiø7 chord in a minor iiø7-V7-i progression, where it is called a 'half-diminished' scale.[citation needed]

Major modes The Ionian mode ( listen (help·info)) corresponds to the major scale. Scales in the Lydian mode ( listen (help·info)) are major scales with the fourth degree raised a semitone. The Mixolydian mode ( listen (help·info)) corresponds to the major scale with the seventh degree lowered a semitone.

Minor modes The Aeolian mode ( listen (help·info)) is identical to the natural minor scale. The Dorian mode ( listen (help·info)) corresponds to the natural minor scale with the sixth degree raised a semitone. The Phrygian mode ( listen (help·info)) corresponds to the natural minor scale with the second degree lowered a semitone.

(Source: wikipedia)

:) Does that clear up my apparently paradoxical comment?

But the OP wasn't asking for a mode shift, he was asking how to incorporate the scale into his piece. I'm a jazzer, we don't call our scales "modes," like locrian #9 isn't a mode, it's a scale. So when Ness titled his thread "changing modes" I didn't recognize he was talking about using it as a scale, not as a mode.

My apologies. I was wrong to bring it up.

It is impossible for any of us to tell you how to write a smooth transition, because you certainly did not give us the circumstance under the operation is to be carried about! I will admit I am inexperienced in jazz. I can tell you this, however : such a mode would definitely emphasize the dominant minor (it is simply a matter or rearranging the notes into the familiar and very pleasing melodic minor scale). As such, a modulation to G# minor could be appropriate, but if you're not picky, you could introduce this mode right away, because C#-B-A#-G#-F## would sound very idiomatic (octatonic scale). The only task you face now is emphasizing the tonic.

What is the OP's question? To establish a new mode, or to simply add the scale?

:) Does that clear up my apparently paradoxical comment?

But the OP wasn't asking for a mode shift, he was asking how to incorporate the scale into his piece. I'm a jazzer, we don't call our scales "modes," like locrian #9 isn't a mode, it's a scale. So when Ness titled his thread "changing modes" I didn't recognize he was talking about using it as a scale, not as a mode.

My apologies. I was wrong to bring it up.

Locrian #9 is a mode of melodic minor, as is Lydian Dominant.