The LYDIAN DOMINANT SCALE in depth, when and how to use it.
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- Опубликовано: 25 авг 2024
- Jazz improvisation wouldn't be the same without it. The lydian domimant is one of the three most important scales to know when soloing on a dominant 7th chord. The other two are: the diminished scale and the altered scale.
Here are my links to those scales:
diminished scale in depth: • The DIMINISHED SCALE i...
altered scale in depth: • The ALTERED SCALE in d...
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lydian dominant study sheet (free pdf): bit.ly/3womgbe
I'm a guitarist and I trust this channel more than guitar based channels for my education. Thank you sir for sharing all these great lessons!
I will try to do more 'guitar-friendly' videos, thanks so much!
Me too!!!
An excellent educator for sure.
me too!
Me too!
Wow, what an excellent video. For learning musicians like myself, I've never seen anyone explain and demonstrate these concepts as well as this before. Tony, you are a great teacher. There's a saying "A great teacher can show you something in 5 or 10 minutes that could take you years to learn on your own". Real glad I discovered your channel!
Thanks. Very good
You are a fantastic teacher. Every College Jazz department should use you as a model. Thanks!
It has happened a few times - and I was deeply flattered.
Excellent lesson. Became a patreon a while ago. Even before I found this wonderful lessons, it opened up my ears. And then this blues at the end... so nice.
Pure magic. So much fun seeing this scale used in songs and improvisation with great guidance. Really bridges the gap between "boring" scale studies and the innovative application of the scale in great music.
Another great lesson from you Tony. Many thanks. :Learning so much for you.
Thank you very much !
Thank you Sir!
Very good, thanks 🇧🇷
Beautiful! Thank you
Very good instructional video. I will look for more lessons like this one from Tony Winston
Take care of your fingers Tony! We need you. Thanks for your great teaching
Thank you very much Sir.
You are most welcome
Wow.. why didn't I discover your channel sooner? Finally an explanation of the scales with perfect examples of how and when to use them.. For some reason I feel like there aren't many people explaining it this way.. Thank you! I subscribed!
Excellent lesson professor, I appreciate the jazz piano knowledge you share.
Gracias Tony, espero que el dedo haya mejorado y puedas seguir aportando tantas buenas lecciones como esta. Estoy realmente agradecido de tus videos.
Hello Tony!, good to see, hear you. Thanks again for sharing your great musical insight and chord chops!
Thank you Tony for such a great music lesson
Hope you finger gets better and thanks for more great videos I’m learning so much jazz theory from you 🙏🏾
Thanx, Maestro 🌹🌹🌹🌹
Brilliant teaching maestro! If only I could play the piano and not only guitar...but I still learn a lot from you! Thank you :-)
Just discovered your channel. Nice breakdown and explanation of the Lydian Scale application. I am a sax player and find it useful when the piano is used for demonstration. I like to use this scale when developing licks for jazz blues. Love the Lydian sound. Thank you for your insight.
Very good
You are awesome bro
Brilliant!
Fascinating ! Many thanks. Take care also of your fingers 🙂
Thanks
Thanks tony good luck with your hand and stay legendary :)
Thanks. The hand has recovered!!
Tony, this is a 5 Star Lydian Dom. presentation !! Bravo & Thanks :)
Wow, thanks!
Learned a few years ago. A shortcut for C alt scale Start from C with right hand and go down 5 Whole steps C Bb Ab Gb E..that should be the major third of the C Altered
Scale. Then notes Eb Db C. Then go back the other way to the higher C.
I listen for the sound as the notes go from high to low and vice versa.
You’re awesome maestro!
Thanks for this. Stole a couple of licks.
I believe the answer to question about jazz tunes written in flat keys is because most saxophones are "transcribing" instruments. That is why the tenor sax is called a Bb-sax and the alto sax is called an Eb-sax. If you wrote a jazz tune in D, the also sax would have to play in B. In sharp keys, a III7 or VI7 is going to end up with a double-sharp, ie the third of C#7 is E-double-sharp, the third of G#7 is B-double-sharp.
Omg, such tasty blues licks! 😋
Hope your fingers recover smoothly!
They were some succulent licks indeed
❤❤❤❤ amazing excellent blessings 🎉🎉🎉🎉
This tri-tone relationship is interesting. I recently found quite by chance that the 2 most commonly used rootless voicings of the Dominant 13 chord (3rd or 7th on the bottom) of 2-5-1 progressions become the 2 commonly used Dominant 13 altered (#5#9) rootless voicings a tritone away and vica versa. This allows you to practice the voicings alternately descending a half step at a time either as an expression of a Dom 13 or Dom altered chord depending on where you consider the root to be.
Lydian scale sounds like a whole tone scale on the first tetracord and as a diminuished one on the second.
Or maybe just a minor one on the second. But yeah, I love those little connections.
Thanks Tony. You’ve given me a whole bunch more practice to do!!! LOL!!
Bless🙏🙌
could be cool over b7 chord (eb7#11) in fmaj Vince guaraldi - Christmas time is here maybe ? Great vid ! As usual . Thanks so much for your lessons .
Perfect example. Thanks.
Muchas gracias amigo por sus videos siempre lo sigo..hay algun video para la mano izquierda en relacion con los comping ,en voces abierta y cerradas?
Great Tony! ...I’m sure that you would have liked my father very much! I hope that your finger is ok!
Nice Klipsch speakers in the back there ? Heresy’s? Great lesson , thanks !
Yep. I like to blast music sometimes. They are LOUD!
Maybe the favoured keys are Concert Bb and F because the Tenor Sax & Trumpet will be in C and G, the standard register covers 2 octaves and 5th so C to C is cool from that point of view and the Alto & Baritone will be in G & D and likewise they would have at least 2 full octaves in the standard range. Just maybe? But hey, Mike Brecker and the like have no problem in any key plus super extended ranges..... how about Maynard.....
Lesson Superlative. Greeting from me 👋
Bb Lydian Dominant (Bb D F Ab) and ( C E G Bb) = (Bb C D E F G Ab Bb C)
Dom. Chords Bb7 and C7.
Regarding fingers and age, have you tried other pianos? Yamahas tend to require more weight to depress a key. I’ve learned this do to managing onset osteoarthritis, and I’m in the process switching out my Yamaha. Donna Lee is actually the tune that clarified to me the need to change..
I used to do Piano Tuning & I've had finger problems too. For god's sake don't aggravate a tendon injury. I had 7 surgeries on my left middle finger long tendon. It's really good now but they can't fix it again.
Looking Sunday SHARP, Tony🎩😎
9:38 - a little confused there. Following your idea, I expected you to play an Ab Lydian dominant (which is the altered D as you say), but seems like you play D Lydian dominant?
I think what I was trying to say is the D7 lyd. Dom. is the same as Ab7 altered.
I do use Ab lydian dominant at about 0:18
@@TonyWinston Oh yeah you actually do say that, I got confused... probably that time of night :) In any case, terrific stuff -- I am learning a lot, thank you so much.
Hi Sir Tony! Have you released any music? It would be interesting to hear your arrangements.
@@Fabricek I have three albums on RUclips, Mondo swing one, Mondo swing 2, hitting the road, Winston Hinkle and Jones
@@TonyWinston excellent, am playing them all soonest!
Tony.. Made sense when applied to Donna Lee.. Noticed that the beginning fit the Ab∆7 chord perfect..as it had the ∆7 of the major Ab scale in the beginning notes.
Major scale for reference below.
Ab Bb C Db Eb F G (Ab)
So looking the C Lydian dominant
scale over it made perfect sense to use to use a 2 dominant chord..and
combine them.. As shown below
C7 = C E G Bb
D7 = D F# A C
(Combining them) Below
C D E F# G A Bb C.
C Lydian Dominant scale.
Still working out the details
Hi, I follow your channel with a lot of interest, but how would you use this particular technique on real slow ballads?
This tritone relationship is interesting. I recently found quite by chance that commonly used rootless voicings (3rd and 7th on the bottom) of a Dom. 13 and Dom. Altered (#5#9) are the same a tritone apart . So C13 and F# altered share the same notes depending on where you consider the root to be. This allows you to practice the 2 chords voicings alternately descending a half step at a time as an expression of Dom .13 or Dom. Altered depending on where you consider the root to be.
Acoustic scale is the same as Lydian Dominant scale.
“I’m going to call this a flat 5” 😂
👍🏼👍🏼
Tony - how can I contact you ?
I have a website and I'm on Facebook. Whats up?
Always enjoying your amazing videos, thank you so much😊❤ hope your fingers recover soon!
Take care of your fingers Tony... 😉
Ipanema, sir!
thanks Tony! can we use it in Armandos Rhumba? ;)
One of chick corea's best, it's on my list
@@TonyWinston Hello Tony, thank you very much for the instructive lessons, you are a great Master. Lessons with both help me a lot. Peter
@@TonyWinston I can't wait for this one!
When to use it? Simple: Not on chords which have dominant function. :-)
nicccccce