Wonderful mode, and lovely improvisation! Though I must say I was disappointed that he failed to mention that Lydian Dominant is the fourth mode of melodic minor which I thought might have given it some context. Also, the second tetrachord is mixolydian as he stated later and not minor as he said initially. And here’s one final bit for the nerds: the tritone doesn’t actually occur until after the minor 7 in the overtone series. But other other than that, excellent intro to one of my favourite modes! I’m glad so many people are interested in discovering the complexities of music theory.
All the notes in this scale are based on what's just above the "minor 7 in the overtone series" as you put it. The tritone you're talking about is relative to the 5th harmonic, as opposed to the root. The tritone in this scale is based on the ratio 11:8. The entire scale is supposed to be based on the ratios 8:9:10:11:12:13:14:16, which is rather illogical, considering that the 13th harmonic should translate as a *minor* 6th, and that we're arbitrarily leaving out the 15th harmonic that's still within the series' 4th octave range.
The 13th harmonic from C is an Ab that's 41 cents sharp, which means it's closer to Ab than to A, so why do so many sources claim that the overtone scale would translate into equal temperament as 1 2 3 #4 5 6 b7? In stead of 1 2 3 #4 5 b6 b6?
Great question!! I'm left asking the exact same thing. It also seems goofy to exclude the 15th harmonic just after the min7th. (I'd imagine the min7th is what you meant by the repeated "b6" at the end of your comment?) At any rate, I'd personally opt for the 5th mode of the melodic minor as being the most "pure" scale, if the goal is to directly reflect the harmonic series in a musical way. You can already build it by the 5th harmonic, if we recursively observe overtones of overtones, while also including the inversions.
Great video and beautiful improvisation by Mr. Hojnacki!!! However this scale is described in the video title as "The Lydian Augmented b7 Scale" which is a inaccurate. As Mr. Hojnacki explains, this is the Lydian b7 scale (1 - 2 - 3 - #4 -5 - 6 -b7 - 8) which has no augmented 5th meaning it's not an augmented scale. He doesn't even mention the word augmented at any point during the video and you can clearly hear and see that he always plays a G natural and not a G#. I'm assuming the person who uploaded the video confused it with the Lydian Augmented scale? Maybe? Anyhow, It's not a big deal but I needed to point it out. Thanks!
@@enriquegomeziv Im pretty sure the Lydian augmented b7 is just from Melodic min b2....you know ..the N6 Melodic min.....KEEP it SIMPLE STUPID Ion b3 dor b2 phry b1......converted to lydian augment lyd b7 mix b6 aeo b5 loc b4 or DORIAN with LEADING TONE = melodic min Aeo with LEADING TONE = Harmonic min Melodic min b2 = Dorian b2 with a LEADING TONE Harmonic min b2 = PHRYGIAN with a LEADING TONE dor b5 aeo b5 aeo #4 mix b6 mix YOU GUESS it....Just play a LEADING TONE... KEEP it SIMPLE STUPID.
@@oneeyemonster3262great page on modes www.jazzguitar.be/blog/melodic-minor-modes/ >> Here’s a list of the 7 modes of the melodic minor scale: Melodic minor scale (aka jazz minor scale) Dorian b2 (aka Phrygian #6) Lydian augmented Lydian dominant (aka overtone scale) Mixolydian b6 Aeolian b5 (aka Locrian #2) Altered scale (aka super Locrian)
I guess we have to look up this "mystic chord" ourselves, huh? Anyway, it's a fun scale, I just have no idea how to make it a stable center of a moving harmony, so I end up not using it as much as I might like to.
Fourth mode of melodic minor, typically called LYDIAN Dominant!!!!! Glad he showed the greater beauty and greater possibilities, but this IS Not some great esoteric mystery. (Get Mark Levine's jazz theory book which explains the practical usage of melodic minor). You'll be perceived as a fool if you refer to this scale as anything other than LYDIAN Dominant. It's been used in countless jazz small group tunes=fake book. It was indeed valuable to see/hear the expanded possibilities, but to try and make it into some compositional inner mystery school esoteric knowledge is truly pretensions. Thanx for the truly beneficial creative expansive ideas:a good service. Esoteric mystery school approach:bullshit. I'm sorry you can't be as cool as Beato, or build a new/old specialized approach like Barry Harris. But thanx for expansion of possibilities. BTW, ever heard of Horace Silver, Oliver Nelson or Jimmy Heath? 🤔
A bit wonky and rough around the edges. Not a great dominant scale, Phrygian dominant will always be better and Melodic Major (mixolydian b6) will always be the best.
Wonderful mode, and lovely improvisation! Though I must say I was disappointed that he failed to mention that Lydian Dominant is the fourth mode of melodic minor which I thought might have given it some context. Also, the second tetrachord is mixolydian as he stated later and not minor as he said initially. And here’s one final bit for the nerds: the tritone doesn’t actually occur until after the minor 7 in the overtone series. But other other than that, excellent intro to one of my favourite modes! I’m glad so many people are interested in discovering the complexities of music theory.
All the notes in this scale are based on what's just above the "minor 7 in the overtone series" as you put it. The tritone you're talking about is relative to the 5th harmonic, as opposed to the root. The tritone in this scale is based on the ratio 11:8. The entire scale is supposed to be based on the ratios 8:9:10:11:12:13:14:16, which is rather illogical, considering that the 13th harmonic should translate as a *minor* 6th, and that we're arbitrarily leaving out the 15th harmonic that's still within the series' 4th octave range.
Perfect analogy ,I hate when important details are left out
This has got to be one of my new favorite scales.
It is very difficult to make a scale stop sounding like a scale, all recognizable and whatnot. Your improv was stellar.
Great, Tom! Thanks for sharing this.
ummmm that improvisation was killer
Look for the Romanian song, "Sapte văi si o vale adancă," on youtube. It's in the Lydian flat 7 scale.
Can you add a link?
The 13th harmonic from C is an Ab that's 41 cents sharp, which means it's closer to Ab than to A, so why do so many sources claim that the overtone scale would translate into equal temperament as 1 2 3 #4 5 6 b7? In stead of 1 2 3 #4 5 b6 b6?
Great question!! I'm left asking the exact same thing. It also seems goofy to exclude the 15th harmonic just after the min7th. (I'd imagine the min7th is what you meant by the repeated "b6" at the end of your comment?) At any rate, I'd personally opt for the 5th mode of the melodic minor as being the most "pure" scale, if the goal is to directly reflect the harmonic series in a musical way. You can already build it by the 5th harmonic, if we recursively observe overtones of overtones, while also including the inversions.
Thank you very much!
it is a very important sound of the late romantic, when the b5 started to be added to the dom 7
What makes the Lydian Dominant chord so good for dominant chords that don't resolve traditionally, up a 4th?
Let's say you're going from F7 to Gmaj7. The sharp 4 in F would be a B, which would fit the key of G better than the natural 4, a Bb.
Beautiful scale.
Great video and beautiful improvisation by Mr. Hojnacki!!! However this scale is described in the video title as "The Lydian Augmented b7 Scale" which is a inaccurate.
As Mr. Hojnacki explains, this is the Lydian b7 scale (1 - 2 - 3 - #4 -5 - 6 -b7 - 8) which has no augmented 5th meaning it's not an augmented scale. He doesn't even mention the word augmented at any point during the video and you can clearly hear and see that he always plays a G natural and not a G#.
I'm assuming the person who uploaded the video confused it with the Lydian Augmented scale? Maybe? Anyhow, It's not a big deal but I needed to point it out. Thanks!
Yup, mix up on upload. Thanks for the feedback!
Anytime! I love these video series, I'm glad I could help
@@enriquegomeziv Im pretty sure the Lydian augmented b7
is just from Melodic min b2....you know ..the N6
Melodic min.....KEEP it SIMPLE STUPID
Ion b3
dor b2
phry b1......converted to lydian augment
lyd b7
mix b6
aeo b5
loc b4
or DORIAN with LEADING TONE = melodic min
Aeo with LEADING TONE = Harmonic min
Melodic min b2 = Dorian b2 with a LEADING TONE
Harmonic min b2 = PHRYGIAN with a LEADING TONE
dor b5
aeo b5
aeo #4
mix b6
mix
YOU GUESS it....Just play a LEADING TONE...
KEEP it SIMPLE STUPID.
@@oneeyemonster3262great page on modes www.jazzguitar.be/blog/melodic-minor-modes/ >>
Here’s a list of the 7 modes of the melodic minor scale:
Melodic minor scale (aka jazz minor scale)
Dorian b2 (aka Phrygian #6)
Lydian augmented
Lydian dominant (aka overtone scale)
Mixolydian b6
Aeolian b5 (aka Locrian #2)
Altered scale (aka super Locrian)
grate video! amazing... check out that you are not mentioning the name of the musician that is actually what is about! name?
Never really looked at it from a piano perspective before /: intriguing
What the?! Awesome!!! Thanks! :)
4th mode of the A melodic minor scale D7#11
4th mode melodic minor containing 2 Tritones
Zelda: Breath of the Wild condensed into a scale
Pretty sure BOTW has a lot of lydian sounds. This scale shares that #4
excellent video
what is your name? i want to lisent your music because the intro is nice, is your?
Thanks for another great video... keep them coming;-)
Great video
So assuming the root is C, where is the dominant? The chord built on G will have a m3 and M7 ...? Anyone?
you call a scale dominamt when it has got a Major Third and a Minor seventh (in this case its E and B flat)
The scale used in the Simpsons theme 🙌🏼
yep
Also The Jetsons.
Not quite, The Simpson’s is just Lydian isn’t it?
@@goldsmithstrings6842 I think The Simpsons theme is in 'Lydian Dominant' - Not sure what the Dominant part implies.
That's just the lydian scale not Lydian b7
I guess we have to look up this "mystic chord" ourselves, huh? Anyway, it's a fun scale, I just have no idea how to make it a stable center of a moving harmony, so I end up not using it as much as I might like to.
why is no one talking about the simpons?
Studio Ghibli vibez
Fourth mode of melodic minor, typically called LYDIAN Dominant!!!!! Glad he showed the greater beauty and greater possibilities, but this IS Not some great esoteric mystery. (Get Mark Levine's jazz theory book which explains the practical usage of melodic minor). You'll be perceived as a fool if you refer to this scale as anything other than LYDIAN Dominant. It's been used in countless jazz small group tunes=fake book. It was indeed valuable to see/hear the expanded possibilities, but to try and make it into some compositional inner mystery school esoteric knowledge is truly pretensions. Thanx for the truly beneficial creative expansive ideas:a good service. Esoteric mystery school approach:bullshit. I'm sorry you can't be as cool as Beato, or build a new/old specialized approach like Barry Harris. But thanx for expansion of possibilities. BTW, ever heard of Horace Silver, Oliver Nelson or Jimmy Heath? 🤔
bolero
A bit wonky and rough around the edges. Not a great dominant scale, Phrygian dominant will always be better and Melodic Major (mixolydian b6) will always be the best.
Better? At what? Sounding good? Depends.
This guy needs to read up on the overtone series...