D: D, E, F#, G#, A, B, C, D The A7(#5) is one of my favourite arpeggios in melodic minor, and in fact there are two dom7th(#5) arpeggios in there. Lydian Dominant Scales overview C: C, D, E, F#, G, A, Bb, C Please subscribe to my YouTube channel and feel free to connect with me via Instagram, Twitter Google+ or Facebook to keep up to date with new lessons, concerts, and releases. E: E, F#, G#, A#, B, C#, D, E G: G, A, B, C#, D, E, F, G The scale has, for example, been present in modern classical music with a touch of folk music and can deliver a kind of mystic feeling. In this example I amusing that in a line where the G7 is a tritone substitute for Db7 in Gb major. First the G7 is the tritone substitue of Db7 in a II V I in Gb major. The other Dom7(#5) arpeggio is the C#7(#5). I will also first cover what common chord progressions have Lydian Dominant chords, and some solid Lydian b7 chord voicings. Two things of note here: Lydian! Fifth Mode of the Ionian Minor Bebop Scale: Information: The Lydian Dominant Bebop scale contains a major second, major third, augmented fourth, perfect fifth, major sixth, minor seventh, and a major seventh. The arpeggio on the Amaj7 is the top part of a Herbie Hancock Arpeggio. Lydian Dominant Scale. The Lydian Dominant Scale is often referred to as the Lydian b7 Scale, but goes also under the names Acoustic Scale, Overtone Scale as well as Bartok Scale (from the Hungarian composer Béla Bartók who used the scale). This nicely leads into an Fmaj7(#5) arpeggio that really spells out the extensions of the G lydian dominant with the #11(C#) and 13(E). There are many great options for getting some new sounds over these chords. The Lydian dominant scale that goes with this chord is the 4th degree of the E melodic minor scale as shown here below: The first Lydian dominant example – The Gmaj7(b5) The first example is using two non diatonic arpeggios and a triad pair. The Lydian Dominant Bebop scale contains a major second, major third, augmented fourth, perfect fifth, major sixth, minor seventh, and a major seventh. So let’s build this scale in C: The cool and useful concept here is that you can view any chord as a scale. Lydian Dominant Scale. F: F, G, A, B, C, D, Eb, F F#/Gb: F#, G#, A#, B# (C), C#, D#, E, F# / Gb, Ab, Bb, C, Db, Eb, Fb (E), F# The forgotten triad or G major b5 is also a good arpeggio to get the Lydian b7 sound across. Lydian Dominant Bebop Scale on Piano. The Lydian b7 can be seen as a mode of the Melodic Minor Scale. Some of the arpeggios that I cover are sus4 triads, quartal harmony and some non diatonic melodic minor arpeggios. The Lydian Dominant Scale is often referred to as the Lydian b7 Scale, but goes also under the names Acoustic Scale, Overtone Scale as well as Bartok Scale (from the Hungarian composer Béla Bartók who used the scale). The first part of the G7 line is really build around a Dm triad arpeggio and this is followed by two arpeggios first a descending A7 and then an ascending Bø that resolves to the maj7th(G#) of Amaj7. C#/Db: C#, D#, F, G, Ab, Bb, B# (C), C# / Db, Eb, F, G, Ab, Bb, C, Db Lydian Dominant 10 Licks With the Best Arpeggios. This video is going over 10 Lydian Dominant Guitar Licks each one with a different arpeggio that you can add to your own vocabulary. Copyright © 2005-2020 Prosonic Studios, LLC. The second example in that line is a IV bVII I in A major where G7 is the backdoor dominant or bVII. This also fits with the context since it is a G7 that is resolving as a backdoor dominant up to Amaj7. The entire line on the G7 is taken up with an ascending A7(#5) arpeggio and resolves via the F down to the 5th(E) of Amaj7. The Lydian Dominant Scale is often referred to as the Lydian b7 Scale, but goes also under the names Acoustic Scale, Overtone Scale as well as Bartok Scale (from the Hungarian composer Béla Bartók who used the scale). The Scale and the chord. All the examples in this article are using a G7(#11). This means that G lydian b7 is D melodic minor from G to G. The scale is shown here below: There are three common lydian dominant progressions. The scale has, for example, been present in modern classical music with a touch of folk music and can deliver a kind of mystic feeling. However, if you’re neither a gospel nor a jazz pianist, it’s also important you learn about the chords that can be formed using the lydian dominant scale. We are doing the same thing here as we did in music modes, that is, we are playing a scale starting from other degrees besides the first. This example is using a IV bVII I progression in A major where the G7 is the bVII. B: B, C#, D#, E# (F), F#, G#, A, B, Intervals: 1, 2, 3, 4#, 5, 6, 7b Lydian Dominant Scale. That is the best way for me to improve my lessons and make them fit what you are searching for. The first example is using the minor melodic connection by using a DmMaj7 arpeggio in the line. Semi-notes: 2 - 2 - 2 - 1 - 2 - 1 - 2 Ed Bickert – A Jazz Guitarist You Need To Know About! Lydian is a major scale with a #11 or raised 4th scale degree. This sound is very distinct and as you can hear it is a great candidate for a G lydian b7 sound. The first thing to cover is what the Lydian Dominant scale is. Formula: Whole, Whole, Whole, Half, Whole, Half, Whole, contact | about | sitemap | policy The intervallic relationships it contains are: major second, major third, perfect fourth, perfect fifth, minor sixth, major sixth, major second, minor third, perfect fourth, diminished fifth, perfect fifth, minor second, minor third, major third, perfect fourth, major second, minor third, major third, minor second, major second, minor second. This example is a longer line on a G7 resolving as a backdoor dominant back to Amaj7. As the name says, it's a combination of the lydian and the dominant (also known as a mixolydian scale) to create a scale with a raised 4th and a lowered 7th. (If you need an Ari shortcut to modes, click here!) So my friend, this means that the Lydian dominant scale is the fourth mode of the melodic minor scale. The lydian dominant scale sounds very jazzy and is great when used properly. The G7b5 is played as a pattern and the entire bar is filled up by this pattern. Notice how G7(b5) is not strictly a diatonic arpeggio in D melodic minor. From here it continues with an A Coltrane Pattern that is repeated in the octave and finally resolves to the 7th(/F) of Gbmaj7. Attention: You’ll appreciate the application of the lydian dominant scale in chord formation more if you’re a gospel or jazz pianist. Since it includes the minor seventh is the scale used for playing over a dominant seventh chord, which not function as V chord and especially the 7(#11) chord. In this example the G7 is again resolving to Amaj7 and the F augmented arpeggio is used in the 2nd half of the bar. All the examples in this article are using a G7(#11). The first part of this line is an Fmaj(#5) followed by a Dm melodic scale run. The first thing to cover is what the Lydian Dominant scale is. The scale is a mode of the melodic minor scale found on the IV. In this example I am using G7 as a tritone substitute in Gb major again. If you explore the diatonic sus4 triads in D melodic minor you will come across this great sounding arpeggio: Gsus#4. In this example I am combining it with first a Dm triad then the G(b5) arpeggio and then I resolve that to an Amaj7. Copyright © 2012-2020 pianoscales.org. The Tritone Substitute, the backdoor dominant and the V of V in a major key. It is a diatonic scale melodic minor. In other words, the F Lydian dominant scale is the C melodic minor scale played from its fourth degree. Leave a comment on the video or send me an e-mail. The scale differs from the regular Lydian Mode by including a minor seventh, which is the reason for it being called “dominant”. All the examples in this lesson are using an A7(#11) as the Lydian dominant. A: A, B, C#, D#, E, F#, G, A D#/Eb: D#, E# (F), F## (G), G## (A), A#, B# (C), C#, D# / Eb, F, G, A, Bb, C, Db, Eb