Oh so cool young Quist. Pour moi, as an Alto Sax player, I have to go through the agonising and sometimes torturous routine (players of transposing instruments will know whereof I speak) of transposing from Concert pitch to Alto pitch (which is Eflat = Concert C). Ah so! I always resort to Major keys. In this case: I play E maj (E, F sharp, G sharp, A B C sharp D sharp) for D Lydian (one above. And play A Maj for G Lydian (one above wouldn't you know) 3 sharps. (C G and F) I will post the results asap. Via youtube, if that's ok. Keep up the good work, sir, you are a genius. I post this now for other Sax players to comment and maybe have another take of this. Even you good ole boys who play Tenor saxes!
I love this mode I just 2min ago finished 3days of memorizing the melodic minor pattern front to back so i can play this mode, now i gotta just slowly drill it and memorize the interval positions, so much fun. damn could of just played B minor pent
where can I see you jamming over the tracks yourself? Love your backing tracks, they are all a lot of fun to play to! Would like to watch you play as a little inspiration booster.
god I hate google. that said, what an awesome track.. I've been waiting for some exotic harmonic minor mode groovage for some time, what a treat, thanks a lot
QuistTV well that whole "forcing me to join googel+ if I want to interact" thing - also their way to change everything each time once they get the site working but thats not the point, people like you keep doing their thing and that makes up for that shit google is pulling on us
Jacob do you know Mike Betham from "Fret Jam"?? He just posted an excellent lesson on the use of Ly.Dom. coincidence??? I like to think not... Thanks alot man, I needed this track!!! Hey dude;When you coming to the N.W. in the states, you've got a place to kick it and a tour guide if you/when you do....
Hey man, thanks that's sounds great!! I don't actually know Mike, no.. but I have heard of Fretjam! I made this track as several people have requested this particular scale.. and as it happens I have just written and recorded an "Exotic Scales feature" for Guitar Techniques Magazine, so I've had my head in this type of harmony for a couple of days..!! Thanks again.. enjoy!
Right back at ya. Let me know if you ever do find a copy... i'm fairly certain it's out worldwide, but I'm not sure how easy it is to find it in the US.. I tried at Guitar Center in LA a few weeks back and failed...
It seems like it's just switching between G lydian and G Mixolydian depending on what chord change youre on. You can't just play the scale over both and have it sound good imo
Well it does because it differs from only one note compared to the dominant scale (the 7th). So it adds a little tension which sounds nice. But If you listen carefully to the chords and the bass, you will hear that they both contains a C note which is part of the D dominant scale. A good idea would be to switch from Lydian to Dominant Lydian, aswell as any other modes that you think it sounds nice :) Almost everything can work actually as soon as you use it with your hear ;)
For example, simply try the ionian mode (major scale), mixolydian mode and whole tone scale mixed together. You will see it sounds pretty nice too. When the bass is on the D note, play the ionian scale or lydian, and when it is on the C note, switch to the mixolydian or whole tone, because C is part of both of this scales. (i think the whole tone is fun to play on this ^^)
I don't think Lydian works all that well with this. The sharp 7th of diatonic Lydian is a rather untuneful note to my hear. However as far as it does work I would say that the sharp 7th just happens to be not absolutely awful. The backing chord seems to be emphasizing the #4 but not so much the b7 so I suspect that's why you can get away with it. I should also point out that the #7 functions as a leading note to the root, so following a #7 with a root note will quickly resolve the discordance of the #7 making it acceptable. Dwelling on the #7 does not yeild any likeable conclusion.
***** You're right, and like always, it depends on how you use these notes. You can use the 7th as a passing note or a tension. Basically, anything can work from the root if you can use the other notes wisely. A nice thing is to switch between modes to find the balance between using tensions and resolving them.
That’s cause it can be seen as half Lydian half mixolydian. I was having the hardest time making it sound groovy but then I realized that it contains both the #4 and b7 haha. Now I basically think of it like I’m just mixing D Lydian and D Mixolydian.
Such a weird sonority, I have to gain some confidence with it... is there anyone who could suggest me some musicians who use this mode and maybe some songs in particular?
Oh so cool young Quist. Pour moi, as an Alto Sax player, I have to go through the agonising and sometimes torturous routine (players of transposing instruments will know whereof I speak) of transposing from Concert pitch to Alto pitch (which is Eflat = Concert C). Ah so! I always resort to Major keys. In this case: I play E maj (E, F sharp, G sharp, A B C sharp D sharp) for D Lydian (one above. And play A Maj for G Lydian (one above wouldn't you know) 3 sharps. (C G and F) I will post the results asap. Via youtube, if that's ok. Keep up the good work, sir, you are a genius. I post this now for other Sax players to comment and maybe have another take of this. Even you good ole boys who play Tenor saxes!
I love this mode I just 2min ago finished 3days of memorizing the melodic minor pattern front to back so i can play this mode, now i gotta just slowly drill it and memorize the interval positions, so much fun. damn could of just played B minor pent
This sounds just like baião but more jazzy, amazing
So true
Love the way it's sounding...congrats from France 🤘🇫🇷🎸
thanks, your tracks are so helpful. Helps grind the scale into the head.
great to hear!!!
Feeling adventurous? Try jamming on a Lydian Dominant progression :) #lydian #lydiandominant #mode #backingtrack #musictheory #practice #learn #guitar
Lydian Dominant Scale - Groove Jam Track
QuistJam
I'm pretty sure the chords are D7, D7#11, and C augmented. and for G lydian dominant, G7, G7#11, and F augmented
Yes!
Cool!
good ear mate
My favorite mode.
So colourful :)
*Colorful
where can I see you jamming over the tracks yourself? Love your backing tracks, they are all a lot of fun to play to! Would like to watch you play as a little inspiration booster.
Oh, very nice jam track by the way. Very Slick!
Thanks... enjoy......
Well DONE Noble Warrior!
Love It ❤
You the man!
god I hate google.
that said, what an awesome track.. I've been waiting for some exotic harmonic minor mode groovage for some time, what a treat, thanks a lot
*oh damn its a melodic minor modeI just noticed
Great!! What wrong w Google?
QuistTV
well that whole "forcing me to join googel+ if I want to interact" thing - also their way to change everything each time once they get the site working
but thats not the point, people like you keep doing their thing and that makes up for that shit google is pulling on us
mashroom1993 "Welcome my son...To The Machine..."
martyisabeliever indeed my friend. dont think pink floyd would have agreed
sorry for my ranting... could you post the chordprogression for this?
great track, thank you
I am sure Lisa should be very proud of you!
great job! bravo
Jacob do you know Mike Betham from "Fret Jam"?? He just posted an excellent lesson on the use of Ly.Dom. coincidence??? I like to think not... Thanks alot man, I needed this track!!!
Hey dude;When you coming to the N.W. in the states, you've got a place to kick it and a tour guide if you/when you do....
Hey man, thanks that's sounds great!! I don't actually know Mike, no.. but I have heard of Fretjam! I made this track as several people have requested this particular scale.. and as it happens I have just written and recorded an "Exotic Scales feature" for Guitar Techniques Magazine, so I've had my head in this type of harmony for a couple of days..!! Thanks again.. enjoy!
QuistTV I'll look for a copy here in Oregon. Lord Bless ya' Quist...
Right back at ya. Let me know if you ever do find a copy... i'm fairly certain it's out worldwide, but I'm not sure how easy it is to find it in the US.. I tried at Guitar Center in LA a few weeks back and failed...
QuistTV Will do...if I see I'll grab two and send ya' one... autographed!! (LOL)
No one calls Lydian Dominant "Ly.Dom."!!!!
diminished half-whole for when you want to go outside a bit...
Thanks, Carlos from 7 years ago.
It seems like it's just switching between G lydian and G Mixolydian depending on what chord change youre on. You can't just play the scale over both and have it sound good imo
What are the chords man? Dreamy beautiful. Please tell the chords
Correct me if I’m wrong but can this scale be seen as half Lydian half mixolydian?
You could think of it as mixolydian with a sharp 4th
Hi, Could anyone explain why the standard Lydian Mode works with this? I'm still relatively noobish with theory, so take it easy lol
Well it does because it differs from only one note compared to the dominant scale (the 7th). So it adds a little tension which sounds nice.
But If you listen carefully to the chords and the bass, you will hear that they both contains a C note which is part of the D dominant scale.
A good idea would be to switch from Lydian to Dominant Lydian, aswell as any other modes that you think it sounds nice :) Almost everything can work actually as soon as you use it with your hear ;)
For example, simply try the ionian mode (major scale), mixolydian mode and whole tone scale mixed together. You will see it sounds pretty nice too.
When the bass is on the D note, play the ionian scale or lydian, and when it is on the C note, switch to the mixolydian or whole tone, because C is part of both of this scales. (i think the whole tone is fun to play on this ^^)
Try the Phrygian dominant scale too on the D bass and then Phrygian on the C ! Sounds lovely :D
I don't think Lydian works all that well with this. The sharp 7th of diatonic Lydian is a rather untuneful note to my hear. However as far as it does work I would say that the sharp 7th just happens to be not absolutely awful. The backing chord seems to be emphasizing the #4 but not so much the b7 so I suspect that's why you can get away with it.
I should also point out that the #7 functions as a leading note to the root, so following a #7 with a root note will quickly resolve the discordance of the #7 making it acceptable. Dwelling on the #7 does not yeild any likeable conclusion.
***** You're right, and like always, it depends on how you use these notes. You can use the 7th as a passing note or a tension. Basically, anything can work from the root if you can use the other notes wisely.
A nice thing is to switch between modes to find the balance between using tensions and resolving them.
What are the chords?
D Mixolydian works for a more inside feel.
That’s cause it can be seen as half Lydian half mixolydian. I was having the hardest time making it sound groovy but then I realized that it contains both the #4 and b7 haha. Now I basically think of it like I’m just mixing D Lydian and D Mixolydian.
Such a weird sonority, I have to gain some confidence with it... is there anyone who could suggest me some musicians who use this mode and maybe some songs in particular?
I think Frank Zappa used this mode ;)
please tell me in which song i want to hear that!!
Playing it safe you can jam over it in B Blues with chromatics thrown in... Just for mere mortals like me ;-)
Recalling mr oz noy...
the simpsons mode!
aw yeah.... this is the one. can you guess my user name at ss.org?
erm... what's that?
QuistTV
sevenstring.org
have you guessed me yet?
c9chord Mr. big noodles? or Tyler faith??
Overtone!
c9chord ah!! Hey man!!! Good to meet ya on here as well..
simpson-ish sphere
+BluesMuse92 yes!
yep
🫶🏽
Just play the Simpsons theme on it