ertain chords can really evoke moods beyond the major equals happy, minor equals sad premise. If you’ve ever played or heard the Lydian mode, you’ll know the fundamental difference that raising the fourth degree of the regular major scale by a semitone can make. By combining theme tune! You may ask, how is this different from a b5? It’s all about the context. Though a D# and Eb are the same note enharmonically speaking, the b5 is more traditionally associated with the blues (where it often coexists with the unaltered 4th), plus heavy metal, half diminished or diminished chords. It’s a completely different mood! The example chords all incorporate the tonality and mood of the Lydian mode in that they include a #4th and lean more towards major than minor, even though none have a 3rd.
