You have a great selection of videos for developing the new modern sound. This is something I have been exploring/experimenting with for a while now and I find your material extremely useful. It is delivered in concise and manageable phrases and always practical.. I am very pleased to have found you/your site. THANK YOU!
Hello Jens I like your Videos very much. I studied Jazz myself on the Akkordeon and your Videos Are a Great support to change my own view on music theory and ideas. Please excuse my Bad english . Greetings from Austria, Tom
thank you for all these videos, I've been playing for quite a long time and always searching for new approaches to expand my vocabulary, I appreciate all the information you are sharing,
Thank you for the great lesson, Jens. Very helpful. Lydian Dominant is a familiar sound that I've been trying to get me head around. With each lick, I was expecting you to dive right into "Bright Size Life"!
BSL is not Lydian dominant Mario. The first two chords of the A section are Gmaj7th and Bbmaj7th: they contain the maj7ths and so are 'Lydian' from the fourth mode of the major scale not Lydian Dominant which is derived from the fourth mode of the melodic minor.
+MrDippydappy did you make a survey or are you just asking for a 'friend'? It is something I am aware of, and I will try to structure the order of the lessons as much as possible, but since this is a very time consuming thing to do it won't be right away.
How do you like the bloopers? 😁 Would a video in some of the more uncommon structures of Melodic minor Scale be interesting? I talk about a few of them in this video?
Cheers for the Video! Excuse me for butting in, I would love your initial thoughts. Have you ever tried - Riddleagan Blossoming Solo Remedy (do a search on google)? It is a good exclusive guide for mastering guitar scales without the headache. Ive heard some interesting things about it and my buddy after a lifetime of fighting got amazing success with it.
Jens Larsen it's kind of a simple progression. sort of an 8 bar blues with each chord having "two bars" in 4/4 the interesting part is when it opens you rest for 3 counts and start on the 4, play a bar and in the next bar, change chords on the 4 and repeat that pattern. lots of room to practice new ideas
Hi Jens, super good material as usual 😃 ! One quick question : why do you choose to name Gmaj7b5 instead of Gmaj7#11 ? Because b5 would imply a Db that doesn't theoretically exist in E melodic minor. Maybe one more question / remark. You say that the chord isn't diatonic because it's not the direct thirds stack. But still, every notes of this chord does belong to the scale so why it's no more diatonic for you ? Thanks for all the work and inspiration ! Sam
Yes, but #11 would imply that the chord has a 5th (and a 9th) this way it is clearly a 4-note. Both are not 100% correct, and then I prefer 4-notes with an enharmonic ambiguity over naming it after a 6-note chord. Does that help explain it?
@@JensLarsen yes I understand your point, even if I find it super complex to explain to students. I'm still amazed after years of practice that there isn't a definite official rule for this kind of case ! Of course the simplest way is to think intervals but when you want to relate to the key and think notes and alterations, it starts to be over complexed. Thanks for taking time to answer !
@@hack-ta-guitare Chord symbols are just not that strong for describing music :) Then you should write it out as the actual notes. Look at it this way: You can write the chord symbol C13, and it means a specific set of notes and the C is (probably 😁) the lowest, but it does not tell you that if you but the Bb over the A then that probably does not sound great unless you double the A higher in the voicing. Further more if you play C13, then that also means that there is an F and a D in there which we don't play half the time. Chords are just a mess 😂😂
I'd like to have more lessons on blooper blues as my playing seems to naturally sound like bloopers, luckily my musical talent leans heavily on that style.
I started out playing rock, rock blues, then at 18 took lessons from a Montreal friend that went to Berkley in Boston, but I had no idea what style to focus on, I liked John McLaughlin, Santana, Allen Holdsworth, Handcock, Tyner, Coltrane, Miles funk and 59 up, but I just loved the idea of being able to improvise over anything, Abacrombi, Scofield, lately I like Kirt Rosenwinkel, My big problem is I never really focused on one style, that is why Blooper blues music appealed to me,haha Oh ya I just got iReal pro now I can practise over many chord progressions and maybe get good at one or 4 different styles and it was only $16 can.
Have to admit, I like these older vidoes better - just the goods, without the cutsey special effects and cartoons and other youtube pandering of the new ones... for what one opinion is worth.
Jens Larsen yes it does, I don't know why it's the scale choice for backdoor progressions though. like I get that over a trip tone sub it stems from the altered scale so G7 alt - Db lydian Dom. but in backdoor progressions I'm lost as to why use that scale lol
Well, If you look at a Bb7 and try to fit it in to C major: C D E F G A B. You'll find that you need to alter A to Ab and B to Bb: C D E F G Ab Bb and that is : Bb C D E F G Ab which is Bb lydian dominant, Quite simple right?
Hey Jens, great Lesson but can you also tell over which chords except alt7 and IVMajor can we use this lydian Dominant sound ? i think it doesnt work anytime over any Dominant7 chord, right ?
I think I have an old video on that, but you can use it on tri-tone subs, backdoor dominants, dominant of the dominant in major and on double diminished #IV chords 🙂 If you want me to I can dig up the lesson and give you a link?
Awesome videos, I have a question, in the second bar of darn that dream there's a B7#11 that resolves to a E-7 (VI degree), what's the explanation of that sound or that's not a lydian dom?
@@JensLarsen Hi again Jens! I went back to the practice room and I'm a bit confused, because the F note is on a strong beat, so I'm not getting why it's a passing tone, sorry if I bother you, cheers!
@@nicolasignaciodiazcastro2036 leading notes can be on the strong beat, why should that not be possible? Can't you hear that it wants to resolve to f#?
@@JensLarsen yes, but I've always thought that the Lydian dom sound was something like a passing tone (for example on a 251 with Tritone sub), thanks a lot Jens, I'm studying the melodic minor and I want to get all the modes and the harmony right, sorry if this was annoying! Love your channel
Hello Jens, quite simply what is a Lydian (or phrygian) dominant scale and why 'is' it? For that matter what is an 'altered' scale (and all these other similar scales found in 'jazz')? Confused! thanks Jens, Nom
You do need to know your major and melodic minor scales for this, for the rest it's really simple. Dominant scale would probably be mixolydian: 1 2 3 4 5 6 b7. Lydian dom7th scale: 1 2 3 #4 5 6 b7 Phrygian dom7th scale (also called mixo b9b13) 1 b2 3 4 5 b6 b7 Here are some lessons on the Altered scale: ruclips.net/video/51MCFyXYyas/видео.html Does that help?
Thanks Jens it does help indeed! It appears that it's not the scale formula I was finding confusing so much as the scale terminology! Still not sure about the Phrygian dom7th scale formula given above (Phrygian has a b3 from memory no?) but then I haven't checked out the provided link just yet. Kind Regards, Nom
If I play over a blues in Amaj, and I have The Dmaj as IV, can I play The Amaj pentatonic over the Amaj chord and The D lydian dominant arpeggio over Dchord?
I always thought saying a certain scale is the x degree of another scale really confusing. For me it's easier learning scales based on their major or minor versions, so I can see what changed but the root stays the same. So i don't see this as anything from the E melodic minor scale, i see it as an A major scale with a raised 4 (lydian) and flat 7th (dominant).
That makes sense, but you also loose the connection to a parent scale and have to learn your "unique" scale all over the neck if you want to be free to improvise over it. For most people, that is not very efficient.
g#,a,b,c,d,e,f# - scale g#,b,d,f#,a,c,e - the same scale but as a chord :) f#,g#,a,b,c,d,e - scale f#,a,c,e,g#,b,d - scale as chord. Both are melodic variants from natural f lydian and g mixolydian
No, they are both A melodic minor. You have written out G#7 altered with all extensions and F#m9(b5) with all extensions. I have lessons on both of those types of chords already. To be honest I find your attempts at making scales into chords by stacking them in 3rds quite pointless. Could you explain to me what it is you are trying to do? Maybe I can then tell you something useful?
You have a great selection of videos for developing the new modern sound. This is something I have been exploring/experimenting with for a while now and I find your material extremely useful. It is delivered in concise and manageable phrases and always practical.. I am very pleased to have found you/your site. THANK YOU!
Thank you Donald! That is exactly what they are there for so it is really great that you can use them and that you support the channel!
I love your videos. Easily my favorite channel for guitar instruction.
Thank you! I am very glad you find the videos useful!
Hello Jens
I like your Videos very much. I studied Jazz myself on the Akkordeon and your Videos Are a Great support to change my own view on music theory and ideas.
Please excuse my Bad english .
Greetings from Austria, Tom
Nice. I use Lydian dominant a lot, even if I'm not sure whether I can play it in all positions. This has given me a few ideas.
Great Hubert! Glad you can put it to use!
thank you for all these videos, I've been playing for quite a long time and always searching for new approaches to expand my vocabulary, I appreciate all the information you are sharing,
Thank you Tde! I am glad you found it useful! 👍 Do let me know if there is something you are looking for!
Really enjoyed this lesson, Jens! Thank you :)
You're very welcome! Glad you like it!
Thank you for the great lesson, Jens. Very helpful. Lydian Dominant is a familiar sound that I've been trying to get me head around. With each lick, I was expecting you to dive right into "Bright Size Life"!
Thanks Mario! Is Bright Size Life lydian dominant? I actually never checked out that peace?
BSL is not Lydian dominant Mario. The first two chords of the A section are Gmaj7th and Bbmaj7th: they contain the maj7ths and so are 'Lydian' from the fourth mode of the major scale not Lydian Dominant which is derived from the fourth mode of the melodic minor.
Yeah that was also what I thought, That piece sounds very pentatonic on a major triad to me (from memory, having only listened to it superficially)
always helpful Jens, do appreciate your work here..
Thank you so much Joe! Glad you like the videos!
This was great Jens. A further lesson with Sus4 and and quartal ideas, 9th arpeggios etc. within the melodic minor would be cool yes..
Thanks Nick! Consider it done! 😁
yes jens another good lesson. but what many people need is a lesson structure. a curriculum. perhaps thats something to think about.
+MrDippydappy did you make a survey or are you just asking for a 'friend'?
It is something I am aware of, and I will try to structure the order of the lessons as much as possible, but since this is a very time consuming thing to do it won't be right away.
Thanks Jens!! You're great, man!!👍🎶🎶🙏
You're welcome Gary!
How do you like the bloopers? 😁
Would a video in some of the more uncommon structures of Melodic minor Scale be interesting? I talk about a few of them in this video?
Definitely, Jens. I'm always trying to find new melodic minor ideas.
Thanks! I will try to make it!
Yes please!
Please do. I'm stuck in simply playing the scale.
Cheers for the Video! Excuse me for butting in, I would love your initial thoughts. Have you ever tried - Riddleagan Blossoming Solo Remedy (do a search on google)? It is a good exclusive guide for mastering guitar scales without the headache. Ive heard some interesting things about it and my buddy after a lifetime of fighting got amazing success with it.
thank you! next tuesday i have to play " cantaloupe island" at my music academy , i'll try to use this recourses, im very greateful
You're welcome Nicolás! Good luck with the performance!
Nice blooper reel at the end
Jens loves himself some sunburst - 😁.
As can be witnessed here: instagram.com/p/Bvtzekwj1xT/ 😂
nice I just started started exploring Lydian dominant over a VImaj chord in a minor moving to the V7 so this lesson is perfect timing
+Bradley Stroup That's great Bradley! I take it you mean IV7?
Jens Larsen the progression is I - IV - bVI - V namely the vi and the v are dominants.
Jens Larsen the I and iv are both minor
You wrote IVmaj7, that's why I ask?
Jens Larsen it's kind of a simple progression. sort of an 8 bar blues with each chord having "two bars" in 4/4 the interesting part is when it opens you rest for 3 counts and start on the 4, play a bar and in the next bar, change chords on the 4 and repeat that pattern. lots of room to practice new ideas
Awesome as always!
Thank you Brian! I am glad you found it useful! 👍
Wow, that was some cool licks. :)
+jonasvalfridsson Thank you Jonas! ☺️
this is amaazing thanks
You're very welcome! Glad you like it!
some cool ideas here , thanks ! i just use this scale over a dominant 7 that not resolve , to me, the +11 is just an extension... A 7 9 +11 13
+jackie chon Certainly, but it still is a sound that you can pull out and emphasize if you want to ☺️
Saludos! Como siempre excelente lección. Podrías dar una clase acerca de Estructuras superiores. ¡Gracias!
Glad you like it! Do you mean upper-structures in Jazz Chords like this: ruclips.net/video/PRimvO-dvPE/видео.html
@@JensLarsen asi es! justo eso muchas gracias. Éxitos en todo maestro!
Hi Jens, super good material as usual 😃 ! One quick question : why do you choose to name Gmaj7b5 instead of Gmaj7#11 ? Because b5 would imply a Db that doesn't theoretically exist in E melodic minor.
Maybe one more question / remark. You say that the chord isn't diatonic because it's not the direct thirds stack. But still, every notes of this chord does belong to the scale so why it's no more diatonic for you ?
Thanks for all the work and inspiration !
Sam
Yes, but #11 would imply that the chord has a 5th (and a 9th) this way it is clearly a 4-note. Both are not 100% correct, and then I prefer 4-notes with an enharmonic ambiguity over naming it after a 6-note chord.
Does that help explain it?
@@JensLarsen yes I understand your point, even if I find it super complex to explain to students. I'm still amazed after years of practice that there isn't a definite official rule for this kind of case ! Of course the simplest way is to think intervals but when you want to relate to the key and think notes and alterations, it starts to be over complexed.
Thanks for taking time to answer !
@@hack-ta-guitare Chord symbols are just not that strong for describing music :) Then you should write it out as the actual notes.
Look at it this way: You can write the chord symbol C13, and it means a specific set of notes and the C is (probably 😁) the lowest, but it does not tell you that if you but the Bb over the A then that probably does not sound great unless you double the A higher in the voicing.
Further more if you play C13, then that also means that there is an F and a D in there which we don't play half the time. Chords are just a mess 😂😂
@@JensLarsen Yes definitely 😅! Thank you for sharing !
I can solo over the simpsons theme so well now because of this video
Hm.. you might have a wrong note in there. Maybe check the Simpsons theme one more time.
I'd like to have more lessons on blooper blues as my playing seems to naturally sound like bloopers, luckily my musical talent leans heavily on that style.
Haha! I will try to think of an approach for that! Are you more of a Be-blooper blues or a hard-blooper blues guitarist?
I started out playing rock, rock blues, then at 18 took lessons from a Montreal friend that went to Berkley in Boston, but I had no idea what style to focus on, I liked John McLaughlin, Santana, Allen Holdsworth, Handcock, Tyner, Coltrane, Miles funk and 59 up, but I just loved the idea of being able to improvise over anything, Abacrombi, Scofield, lately I like Kirt Rosenwinkel, My big problem is I never really focused on one style, that is why Blooper blues music appealed to me,haha Oh ya I just got iReal pro now I can practise over many chord progressions and maybe get good at one or 4 different styles and it was only $16 can.
Haha! 👍😁
@@JensLarsen 🤣😂😄😋
Have to admit, I like these older vidoes better - just the goods, without the cutsey special effects and cartoons and other youtube pandering of the new ones... for what one opinion is worth.
They are already there so you can easily just watch those. In that respect there is no problem.
You can play these exact same licks over "I Can't Help It" by Michael Jackson and Stevie Wonder. It's actually why I came back to this video lol.
cool lick man, I understand how to use it over a trip tone sub, but don't get how to use it over the minor IV chord context
Thank you! IV minor lydian dominants are mostly backdoor dominants, so in C major: Bb7(#11) Cmaj7
Does that help?
Jens Larsen yes it does, I don't know why it's the scale choice for backdoor progressions though. like I get that over a trip tone sub it stems from the altered scale so G7 alt - Db lydian Dom.
but in backdoor progressions I'm lost as to why use that scale lol
Well, If you look at a Bb7 and try to fit it in to C major: C D E F G A B. You'll find that you need to alter A to Ab and B to Bb:
C D E F G Ab Bb and that is : Bb C D E F G Ab which is Bb lydian dominant,
Quite simple right?
Jens Larsen oh shit, thanks man, smart man!
Music is simple stuff!
Hey Jens, great Lesson but can you also tell over which chords except alt7 and IVMajor can we use this lydian Dominant sound ? i think it doesnt work anytime over any Dominant7 chord, right ?
I think I have an old video on that, but you can use it on tri-tone subs, backdoor dominants, dominant of the dominant in major and on double diminished #IV chords 🙂
If you want me to I can dig up the lesson and give you a link?
yeah, it would be great ;) tnx alot again :)
I think it's this one ruclips.net/video/TpHl9JV2bko/видео.html
Great, tnx alot again Jens ;)
Awesome videos, I have a question, in the second bar of darn that dream there's a B7#11 that resolves to a E-7 (VI degree), what's the explanation of that sound or that's not a lydian dom?
No, that b5 is a leading note. It is a just B7b9, just use E harmonic minor or maybe diminished scale 🙂
@@JensLarsen thanks a lot Jens!
@@JensLarsen Hi again Jens! I went back to the practice room and I'm a bit confused, because the F note is on a strong beat, so I'm not getting why it's a passing tone, sorry if I bother you, cheers!
@@nicolasignaciodiazcastro2036 leading notes can be on the strong beat, why should that not be possible?
Can't you hear that it wants to resolve to f#?
@@JensLarsen yes, but I've always thought that the Lydian dom sound was something like a passing tone (for example on a 251 with Tritone sub), thanks a lot Jens, I'm studying the melodic minor and I want to get all the modes and the harmony right, sorry if this was annoying! Love your channel
Hello Jens, quite simply what is a Lydian (or phrygian) dominant scale and why 'is' it? For that matter what is an 'altered' scale (and all these other similar scales found in 'jazz')? Confused! thanks Jens, Nom
You do need to know your major and melodic minor scales for this, for the rest it's really simple.
Dominant scale would probably be mixolydian: 1 2 3 4 5 6 b7.
Lydian dom7th scale: 1 2 3 #4 5 6 b7
Phrygian dom7th scale (also called mixo b9b13) 1 b2 3 4 5 b6 b7
Here are some lessons on the Altered scale: ruclips.net/video/51MCFyXYyas/видео.html
Does that help?
Thanks Jens it does help indeed! It appears that it's not the scale formula I was finding confusing so much as the scale terminology! Still not sure about the Phrygian dom7th scale formula given above (Phrygian has a b3 from memory no?) but then I haven't checked out the provided link just yet. Kind Regards, Nom
The formula is not for a Phrygian scale, but for a Phryigan Dominant scale ( the first one is indeed minor, but second isn't)
Hi Jens, what other options can be used on tritone subs other than lydian dom 7 scale?
Just the plain mixolydian. If you start altering the tritone you loose the effect of it 🙂
Jens Larsen Thankyou so much :-)
If I play over a blues in Amaj, and I have The Dmaj as IV, can I play The Amaj pentatonic over the Amaj chord and The D lydian dominant arpeggio over Dchord?
Yes, if by Amaj you mean A7 and D7 🙂
Ok thank You
I always thought saying a certain scale is the x degree of another scale really confusing. For me it's easier learning scales based on their major or minor versions, so I can see what changed but the root stays the same. So i don't see this as anything from the E melodic minor scale, i see it as an A major scale with a raised 4 (lydian) and flat 7th (dominant).
That makes sense, but you also loose the connection to a parent scale and have to learn your "unique" scale all over the neck if you want to be free to improvise over it. For most people, that is not very efficient.
4:01 "Without Vsauce"
+Aïki SATO Haha! 'with our Bsus'
Jens Larsen Yeah I know. Just though it was hilarious XD. Good vid btw.
Indeed! I could hear like that as well! 😄
I would like to see something about exercises with chords like these:
G#7b9#9b5#5
F#m11b13b5
Can you tell what notes are in there?
Sure :)
g#,b,d,f#,a,c,e = G#7b9#9b5#5
f#,a,c,e,g#,b,d = F#m11b13b5
What is the scale?
g#,a,b,c,d,e,f# - scale
g#,b,d,f#,a,c,e - the same scale but as a chord :)
f#,g#,a,b,c,d,e - scale
f#,a,c,e,g#,b,d - scale as chord.
Both are melodic variants
from natural f lydian and g mixolydian
No, they are both A melodic minor.
You have written out G#7 altered with all extensions and F#m9(b5) with all extensions. I have lessons on both of those types of chords already.
To be honest I find your attempts at making scales into chords by stacking them in 3rds quite pointless. Could you explain to me what it is you are trying to do? Maybe I can then tell you something useful?
Mmmm tasty
Thank you :)