(Down - Top - Links) When introducing the Mixolydian mode I briefly touched on the principle of modes. Definition : a mode is a displaced scale
A 7-tone scale, like the major scale produces therefore seven different modes. One
mode for each note in the scale.
![]() The major scale itself is a mode too (the "Ionian mode'), which only over the past 300 years of Western music has been elevated to the title of 'major scale'.
The mode built on the 4th note of the major scale is called the Lydian mode
![]() (The semitones occur between two adjacent red notes.) Likewise the C Lydian mode is built on the 4th note of the G major scale. ![]() The above note numbers show that you can also think of a Lydian mode as a major scale with the same tonic note and a raised 4th. To form a G Lydian mode from a G major scale for example simply raise the 4th note of the scale. ![]() (This of course produces the same result as starting the D major scale on its 4th scale tone, G.) The Lydian mode has a crystal clear, bright sound which can be recognised immediately. It is the result of changing only the one note in the scale. (Down - Up - Top - Links)
This attractive bright Lydian sound has been introduced to other 7-tone scales as
well. ![]()
![]() Further comment (optional). (Down - Up - Top - Links)
The Lydian sound is great to use in the Blues. Simply use the appropriate Lydian Dominant scale for each chord instead of the Mixolydian mode.
In Lydian Blues the appropriate Lydian Dominant scale is used for each chord.
![]() Practise the following Lydian Dominant over the basic blues in C.
![]() Play-along tracks for the Blues in C (all instrument use the C, F and G Lydian Dominant scales).
You can use the Lydian dominant scales over an entire blues progression, as we do in this lesson. But you can also use it sparingly just over a single chord to give your solo a sudden touch of surprise. (Down - Up - Top - Links) Quirky Blues is a basic blues in C and was composed using Lydian Dominant scales. I have emphasised the augmented 4th (#4)
I have also included plenty of critical tones (E, Eb, B, Bb) in the melody to reflect the chord changes.
![]() (Flutes : play the melody 1 octave higher.) (Down - Up - Top - Links)
1.
(Optional : keys of F and G too.)
2.
(Down - Up - Top - Links)
This Ruler works in the same way as the Rulers from previous Lessons. ![]()
Use the Lydian Dominant scale Ruler to find the notes of the Lydian dominant scale in any
key.
![]()
(Down - Up - Top - Links)
A.
Convert the following Major scales into Lydian modes by altering two notes of each scale.
Unscramble these Lydian Dominant scales.
(Optional) Convert these Melodic minor scales into Lydian Dominant scales by starting the scale on the appropriate Tonic note.
Which are the #4 notes that occur in the :
(Down - Up - Top - Links) Practise the Lydian dominant scale around the Circle of 5ths as shown below (4 bars in each key). ![]() (Down - Up - Top - Links)
Copyright © 2011 Michael Furstner (Jazclass). All rights reserved. |