Si Lydian II
I – II – IV – I progression in Si major
Si Lydian II — I – II – IV – I
The B Lydian II progression (B – C# – E – B) uses a major II chord borrowed from the Lydian mode — a raised-4th harmonic lift that Lennon and McCartney used to make the familiar sound surprising. The Lydian scale and Lydian Pentatonic are the natural choices here, with Major Pentatonic grounding the I and IV chords. With seventh voicings (BMaj7 – C#Maj7 – EMaj7 – BMaj7), the Lydian color becomes luminous and floating.
Playing in Si major
B major mixes barre and open elements. The B chord itself is a barre at fret 2, but E and A are comfortable open chords forming the IV and V. The open B string rings as the root, allowing creative drone-based arrangements. B is a intermediate-level key on guitar because the open B string rings as the root and the open E strings provide the 4th — useful for sus4 voicings and drone effects. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.
Voice Leading
The bass line moves through B to C# (ascending whole step), C# to E (ascending minor third), E to B (descending perfect fourth). The root motion by larger intervals (fourths and fifths) gives each chord change a strong, decisive character. When the progression loops, the bass returns from B to B by unison.
Capo Transposition
To play in B using familiar open chords: capo 2 with open A shapes; capo 4 with open G shapes; capo 7 with open E shapes. Choose the capo position that gives you the voicings you prefer — lower capo positions produce a fuller sound, while higher positions create a brighter, mandolin-like timbre.
Scales for Soloing
B major pentatonic works because every note is either a chord tone or a safe passing tone — there are no avoid notes. For soloing, this means you can play freely without clashing. Over dominant seventh chords, B Mixolydian adds the flat seventh for an authentic blues-rock edge.
Strumming Pattern
Drive with all downstrokes at 140+ BPM for raw punk energy, or use D-D-DU-UDU for classic rock. Palm mute the verse and open up the strumming on the chorus for dynamic contrast.