It’s this raised 4th that creates a feeling of hopefulness and wonder, and it gives the song its characteristic “Lydian” sound. The A/G contains a C# (the major 3rd interval from the root), which is the raised 4th in G. The chords in the verses mostly alternate between G and A/G. If I were to transcribe the song into sheet music, I would probably put one sharp (F#) in the key signature and notate the C# as an accidental because the song’s gravitational center really does feel like G. In Phil Collins’ “Two Hearts,” it is the verses that are in Lydian mode - and specifically, G Lydian, which contains the following notes: G, A, B, C#, D, E, F#. Lydian is the 4th mode of the Major scale and contains the following degrees: 1, 2, 3, #4, 5, 6, 7.
Some people think Fleetwood Mac’s “Dreams” is in F Lydian - and I don’t necessarily disagree, but I could also make a case that it’s in G Mixolydian. Leonard Bernstein’s “Maria” from West Side Story is a beautiful example of Lydian mode. I don’t believe we’ve seen a song reviewed in “The Number Ones” column that features the Lydian mode since REO Speedwagon’s “Keep on Loving You.” (I haven’t paid close attention, so someone please correct me if I’m wrong.) Other examples of Lydian mode include Danny Elfman’s theme from “The Simpsons” (which technically is Lydian flat-7), the intro to Tears for Fears’ “Head Over Heels,” and John Williams’ “Flying” theme from E.T. (1) “Two Hearts” uses the Lydian mode, in a classic pop-song fashion. But listening to it again this morning, I have to say this song is masterfully constructed.
I hadn’t heard this song since I was a kid, and it didn’t made a big impression on me back then.
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