Quote:
Originally Posted by Doug Young
Modes are a rat-hole. It's best to read a few good articles about how they work - actually, you can read whole books, tho maybe others will pitch in to try to explain it all. It's not what note anything begins on, it's the tonal center. If a song is centered on "D", but has three sharps, then the tonality is D Lydian. It's the same as why a song is in D major or D minor. You could have a melody in the key of D major that doesn't start on D - and many do not. But if the tonal center is D major and the chords and scale notes are D major, then it's D Major, no matter what note the melody starts on.
Similarly, you can have a song that is D Lydian that doesn't start on D. But if the tonal center is D and you have a raised 4th, along with a major 3rd and 7th, it's the sound of Lydian. In spite of the focus on scales, modes are really about the harmony that is created by the notes being used.
As FWL noted, this tune doesn't sound like Lydian to me - at least at the beginning - I didn't listen to the whole thing (tho it's very nice.. bookmarked for later) I just answered your question about the key signature. Where are you seeing a score that shows three sharps?
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You can purchase the arrangement from Derek Gripper's site:
https://gumroad.com/derekgripper#
It doesn't have an image of the score, but I have purchased it and it definitely has those three sharps.
I am painstakingly going through the score to play the song (I can read the rhythm more or less, but not so the name of the notes) and those sharps fit nicely into the mood of the song. In fact, when I first had a go I was mistakenly using G major instead of G sharp until my mum (who is a pianist) corrected me, and that's when I got the surprise, because I felt it was in the tonality of D but the G# fitted so well in those phrases. I'd always associated that 4# as very tension creating, dissonant.