Thanks, I'll checkout the fingerings. I use melodic min. fingerings different then presented. I understand lydian dom now but melodic min can be used for altered dom and Maj#5 changes thins a bit.
Thanks for your kind feedback! Re: using Lydian Dominant or Mixolydian - Both are acceptable. it just depends on what kind of sound you want to create.
Definitely is. Gives you the b7 with that raised 4th/lydian flavor. The only time you may want to use caution (or avoid) is over a 7sus chord. That natural 4 would obviously cause issues!
They say the melodic minor scale is a combination of the diminished and whole tone, and you can clearly see it on your lydian dominant diagonal scale -- 9:37 first E string -- the whole tone pattern, second A string --the diminished pattern, etc. Thanks for the lesson.
Yes this was a bit more advanced this one - here's some more beginner friendly vids Bobby - ruclips.net/video/3VULt1Ha6BE/видео.html and also this one ruclips.net/video/_6Gic54frlg/видео.html
A quick note. I'd make more explicit the use of the scale in "A Train." That is, the Lydian dominant is especially useful for dominant II chords as in "A Train", "Desafinado," "Girl from Ipanema", "I Thought about You", Our Love is Here to Stay", "In a Mellow Tone", "Solitude", "Donna Lee", not to mention measures 5 and 6 of the bridge in rhythm changes.
Yes good point Cass, I have written an accompanying post for this video which goes into more detail on take the a train as well as a Sonny Rollins tune which uses this scale - bit.ly/3FKDtj3
I would like to have other examples of tunes where you start using this scale, and where you stop, and what other scales can be mixed with within a same tune. Is the dominant chord the only trigger ? Thank you for the lesson.
Generally Lydian Dominant is used over dominant chords. Whenever you see a dominant chord in the progression try using this scale - more often than not it will sound cool with a slightly outside sound. I've put a post together with a bit more detail and more example tunes that use this scale here: www.fretdojo.com/lydian-dominant-scale/ - there's not many that exclusively use Lydian Dominant in the melody, but it is often used by jazz soloists in many situations.
Hi Richard yes on the accompanying post on the website there are some useful melodic pattern and triad arpeggio exercises, here's the link - bit.ly/3FKDtj3
There's different ways you can go about it. I actually the hated the melodic minor scale. I learned/study different scales prior. Once I got around to studying it...I already had my fingers under the DOMINANT PENTATONIC SCALE....I learn it simply becuase there's alot of DOMINANT ish MODES from various scales. It took time..but it paid off I already know how to use MAJOR or minor PENTATONIC as a stencil to play MAJOR type modes or minor type modes. example. Mix #2 Mix b2 Mix b6 Mix #4 ( lyd dominant) mix b2, b6.....aka Phrygian dominant Mix b2 #4............lyd dominant b2 mix #2, #4....aka Hungarian MAJOR phry b4 loc b4 dor b4 aeo b4 I also study lydian ish modes. ( so I also see it as lyd b7) Lyd #2 lyd #5 Lyd b3 Lyd #6 Lyd #2, #6 Im one of those people that will play maj3 or min b3 Plus if you use the FULL diminished H/W ( it's symmetrical) You could play MAJOR, min, DOMINANT and diminished every b3 interval too. or Dor #4, b2.....AND....Lyd dominant b2 I had to BREAK it down... Learn the dor #4....then lyd b7 Alot of was because..i was used to playing the tritone of A I learned A melodic min #4...first. it;s also A lyd b3 or E Harmonic MAJOR I just wanted to play A min B7 into E Maj or min Then A min... it'll overlap if you study the CYCLE of DOMINANT it just ii, V, I ....extended D min.....G7 into C D7 into G7 into C D7 into G7 into C7 into F7 into Bb7 into Eb7 into Ab7 into Db7 into Gb7 into B7 into E7 into A7 into D7. .....This HELP my HAND and eyes Sometimes...I'll play as if Im play Parallel MAJOR or min A min Bb7 into Eb maj7/C min But I'll play F7 G7 into C MAJOR The F7 is Lyd dominant...for a little while or sometimes....A min F# min B7 into E7 into A min The B7 is lydian dominant to F# melodic min I could A min Db Maj7 G7 into C MAJOR The Db Maj7 is the N6 chord... But I'll sub it with Bb min...Then play Eb7 as the lyd dominant into Ab min chord...then G7 into C MAJOR. Alot of things OVER LAP example the N6 chord of A min A min Bb maj7, Bb7. Bb dim . Bb Aug You could A min Bb7 C7 into F min Db Maj G7 into C MAJOR as if you playing into F melodic min Lets say you modulated to E MAJOR/C# min you could A min Bb dim C dim C# min/E MAJOR as if you played into C# melodic min Then play D7 as the N6 chord of C# min D7 into G7 into C MAJOR or D7 E7 into A min or D Maj7 B min E7 into A min C# min D dim E dim F min Db Maj7 G7 into C MAJOR A min Bb7 C7 F min Db maj7 G7 into C MAJOR or the F7 as the N6 chord of E MAJOR E Maj F7 G7 into C MAJOR i dont have a favorite..They all sound different.. Could be awful or could be amazing..depending how you apply it.
Awesome lesson. It's the best I've seen on this scale. The right way to think about the fretboard is diagonally, at least as far as scales are concerned. Thank you!
To get your free PDF which has the lydian dominant scale notes, guitar tabs + backing track for this lesson, go here: bit.ly/3FKDtj3
I honestly always thought the Simpsons theme was based off of the Bartok scale
Really helpful - ripper matey 👍
Great video, cheers mate!
Thanks, I'll checkout the fingerings. I use melodic min. fingerings different then presented. I understand lydian dom now but melodic min can be used for altered dom and Maj#5 changes thins a bit.
Hi, love your video!
I'm curious about whether to play D Lydian Dom or D mixolidian over D7 chord? What's the difference?
Thanks for your kind feedback! Re: using Lydian Dominant or Mixolydian - Both are acceptable. it just depends on what kind of sound you want to create.
Great lesson- a super useful scale to play over static dominant chord vamps in funk
Definitely is. Gives you the b7 with that raised 4th/lydian flavor. The only time you may want to use caution (or avoid) is over a 7sus chord. That natural 4 would obviously cause issues!
They say the melodic minor scale is a combination of the diminished and whole tone, and you can clearly see it on your lydian dominant diagonal scale -- 9:37 first E string -- the whole tone pattern, second A string --the diminished pattern, etc.
Thanks for the lesson.
Great observation!
While most of your videos are way over my head (pretty much a beginner)), I do pick up quite a few things I can hopefully use in the future.
Yes this was a bit more advanced this one - here's some more beginner friendly vids Bobby - ruclips.net/video/3VULt1Ha6BE/видео.html and also this one ruclips.net/video/_6Gic54frlg/видео.html
Great lesson as always. Please tell us what software program you are using. Thanks in advance.
Almost a whole tone scale...!
It certainly starts and ends that way!
A quick note. I'd make more explicit the use of the scale in "A Train." That is, the Lydian dominant is especially useful for dominant II chords as in "A Train", "Desafinado," "Girl from Ipanema", "I Thought about You", Our Love is Here to Stay", "In a Mellow Tone", "Solitude", "Donna Lee", not to mention measures 5 and 6 of the bridge in rhythm changes.
Yes good point Cass, I have written an accompanying post for this video which goes into more detail on take the a train as well as a Sonny Rollins tune which uses this scale - bit.ly/3FKDtj3
I would like to have other examples of tunes where you start using this scale, and where you stop, and what other scales can be mixed with within a same tune. Is the dominant chord the only trigger ? Thank you for the lesson.
Generally Lydian Dominant is used over dominant chords. Whenever you see a dominant chord in the progression try using this scale - more often than not it will sound cool with a slightly outside sound. I've put a post together with a bit more detail and more example tunes that use this scale here: www.fretdojo.com/lydian-dominant-scale/ - there's not many that exclusively use Lydian Dominant in the melody, but it is often used by jazz soloists in many situations.
Thanks for the video. Do you have any favourite ways of applying this scale, e.g. particular arpeggios that you think work especially well?
Hi Richard yes on the accompanying post on the website there are some useful melodic pattern and triad arpeggio exercises, here's the link - bit.ly/3FKDtj3
There's different ways you can go about it. I actually the hated the melodic minor scale. I learned/study different scales prior.
Once I got around to studying it...I already had my fingers under the
DOMINANT PENTATONIC SCALE....I learn it simply becuase there's
alot of DOMINANT ish MODES from various scales.
It took time..but it paid off
I already know how to use MAJOR or minor PENTATONIC as a stencil
to play MAJOR type modes or minor type modes.
example.
Mix #2
Mix b2
Mix b6
Mix #4 ( lyd dominant)
mix b2, b6.....aka Phrygian dominant
Mix b2 #4............lyd dominant b2
mix #2, #4....aka Hungarian MAJOR
phry b4
loc b4
dor b4
aeo b4
I also study lydian ish modes. ( so I also see it as lyd b7)
Lyd #2
lyd #5
Lyd b3
Lyd #6
Lyd #2, #6
Im one of those people that will play maj3 or min b3
Plus if you use the FULL diminished H/W ( it's symmetrical)
You could play MAJOR, min, DOMINANT and diminished every b3 interval too.
or
Dor #4, b2.....AND....Lyd dominant b2
I had to BREAK it down...
Learn the dor #4....then lyd b7
Alot of was because..i was used to playing the tritone of A
I learned A melodic min #4...first.
it;s also A lyd b3 or E Harmonic MAJOR
I just wanted to play A min B7 into E Maj or min
Then A min...
it'll overlap if you study the CYCLE of DOMINANT
it just ii, V, I ....extended
D min.....G7 into C
D7 into G7 into C
D7 into G7 into C7 into F7 into Bb7 into Eb7 into Ab7 into Db7 into Gb7 into B7
into E7 into A7 into D7.
.....This HELP my HAND and eyes
Sometimes...I'll play as if Im play Parallel MAJOR or min
A min Bb7 into Eb maj7/C min
But I'll play F7 G7 into C MAJOR
The F7 is Lyd dominant...for a little while
or sometimes....A min F# min B7 into E7 into A min
The B7 is lydian dominant to F# melodic min
I could A min Db Maj7 G7 into C MAJOR
The Db Maj7 is the N6 chord...
But I'll sub it with Bb min...Then play Eb7 as the lyd dominant into
Ab min chord...then G7 into C MAJOR.
Alot of things OVER LAP
example the N6 chord of A min
A min Bb maj7, Bb7. Bb dim . Bb Aug
You could
A min Bb7 C7 into F min Db Maj G7 into C MAJOR
as if you playing into F melodic min
Lets say you modulated to E MAJOR/C# min
you could
A min Bb dim C dim C# min/E MAJOR
as if you played into C# melodic min
Then play D7 as the N6 chord of C# min
D7 into G7 into C MAJOR
or
D7 E7 into A min
or
D Maj7 B min E7 into A min
C# min D dim E dim F min Db Maj7 G7 into C MAJOR
A min Bb7 C7 F min Db maj7 G7 into C MAJOR
or the F7 as the N6 chord of E MAJOR
E Maj F7 G7 into C MAJOR
i dont have a favorite..They all sound different..
Could be awful or could be amazing..depending how you apply it.
Awesome lesson. It's the best I've seen on this scale. The right way to think about the fretboard is diagonally, at least as far as scales are concerned. Thank you!
Glad you liked it!
Great video!
Thanks for checking this out Abdullah!
cool video
Thanks for checking out the video! Glad you liked it 👍