The music sources is Album national russe (Köhler, Louis), and the particular passage is...
...before saying the music is in G
major and there isn't any C#
to make lydian, hear me out. The basic voice leading for I6 IV
would have voice leading of ^5 ^6
, and if the line to the ^6
was a descent it would use a lowered seventh, like these...
If the lowered seventh version were tonicized to C
the line would become ^5 ^4 ^3
. So, the point I'm getting at is the ^7
is raised rather than the typical lowered. It's even emphasized as an accented passing tone. The F#
is played above a bass/root C
for an augmented fourth.
I would think from a jazz perspective that C
chord would be labelled not as plain Csus4
but something like C(#4)
. Of course the style of this music isn't jazz, but it seems to me that augmented fourth (keep in mind it's not resolving like a dominant tritone to B-G
, C
is the chord root) is the source of the lydian sound. My understanding is common practice avoided that sound by lowering the ^7
. The fact that it isn't lowered, and is accented, makes me think the passage could be described as having a lydian sound, lydian tonality. Even if it is for only a brief passage.
V65/IV IV
I gave but without the motion through the^7
. That just avoids the whole point of my question regarding^7
.