Backing Track: STEVE VAI Style Dreamy E Lydian/A Lydian Mode
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- เผยแพร่เมื่อ 16 ก.ย. 2024
- This is a high quality animated, Lydian Mode backing track in E and A for guitar in the style of Steve Vai and Guthrie Govan. Excellent for improvising, learning modes, scales, chords and arpeggio's. This Q JAM TRACKS PLUS backing track provides a visual representation of the chords and scales in diagrams as they appear in the music. Extra theoretical information is also shown in the video. It is a backing track and tutorial (or lesson) at the same time. You can improvise and solo over this backing track to practice:
- E Lydian scale
- E Lydian Arpeggios
- A Lydian Scale
- F# major Pentatonic scale
- B major Pentatonic scale
It's also a play along video for learning exiting chords.
Thank you for the beautiful chord progressions in Lydian. Please continue to create more backing track videos like this in all their detail!!! You are the best!
This video is just phenomenal. Pure quality. Thank you so much for sharing what you know.
The chords is out of this world!!! Boosting the lead guitar player. Quality lesson.Thank you.
Good to see you like the video Ockert!
Beautiful !!! And awesome mix & production ! Congrats !
Thank you again Sebastien! :). Greetings and lots of succes with your channel!
Great track. This has helped me learn Lydian a little better.
Thanks Tom! That's what the tracks are for. Glad it worked out for you.
Thank you. Jamtracks are very powerfull tools to practice guitar. You can improve your knowledges (harmony, modes, etc), improvisation, phrasing and developping you technique... and having fun at the same time. But your jamtrack is AWESOME... nice tune and the harmony lesson is really really good, useful. Once again, great job and thank you.
Thanks!!
i recommend practicing the scale along one string, using trills and slides until you really memorize the sound of the scale.
I would second this suggestion especially for the Lydian Mode. Start with the high e, then b, g, etc... You will create many cool licks along the way:)
This is a very good way to get accustomed to a scale because you can more easily recognize the interval sounds and spacing when focusing on one string (i'm practicing this myself and its a game changer in helping improvise to be honest) They talk about this concept or theory in a book called "The advancing Guitarist" I recommend checking it out.
@@MFourReye0 Another way is learn the new scale in a box shape, and listen for the most unique intervals of that scale, some will sound generic but a couple will sound unique to that scale, and then focus on those whilst you improvise with the scale. Once you have learnt the sound you might try breaking out of the box shape on your own just by ear.
Awesome! This is definite Vai influence!
Thanks JudgeDrey! Yes, I'm heavily influenced by Steve Vai. Can't help it I'm affraid :) :)
Nothin wrong with that! DO you ever record solos over your tracks by the way?
And if you go one step further on the horizontal lydian arpeggio, you can implement steve vai style string skipped arpeggio, using the A - G - E strings. 3 notes per string tapping the highest note. you know the pattern vai uses a lot for his famous tapping parts.
I'll keep that in mind and incorporate it in the next vai style video :)
One of my good friends told me about your channel - these are one of the best backing tracks on TH-cam!!!!
Thanks Brian!!
Really Cool Track....Lots of Fun...Thanks!
Nice leads in the beginning two..
Absolutely one of my favorite BT BRAVO :-)
Thanks Massimo!
Excellent backing track. Thanks for the upload. ^-^
Thanks!!
The Riddle vibes!
Best and awesome backing ..
Nicely done!
Thanks Alex!
Love a backing track channel. I have around forty tracks on mine now but noone has discovered it yet!
Try naming them the keys that they r in instead of abstract names. I understand that may be frustrating but it will rake in more views
Gave you a
sub mate. Good tunes can you add wha key they are in? Would make it easier for folk. 🤟🏻
Very nice👈🏻 I kept waiting on the song to start! Bravo. D〽️🌜💫
Thanks Dana! The song starts when the improvisor starts ;)
Thank you very much for this awesome and beauty job!
Excellent, had a great time with this one, thanks, subscribing.
Uncle Ben Eller sent me. Thank you for the jam tracks, subscribed 🙂
liked! (I was already subscribed). I have so much to learn from this, thank you - especially for all the chord diagrams, different sections with different scales, and even appregios. I'm speechless! THANKS!!! XOXO
Thanks!!
Thank you ! I will as soon as i can hope you enjoy 🎶✌🏻peace my friend
The arpeggio on the left at 5:12 gives me "Jetson" vibes.
this is really terrific! can't wait to jam on this :) if anyone wants some free drums only stuff i have some. i got ez drummer 2 with the progressive and made of metal kits the other day in the mail so i am fiddling. you can get an idea of what they sound like if you have been wanting to buy it or just have something to jam on. either way rock on everyone and thanks for this epic-ally awesome backing track!
Thanks Chris!
Thank you so much for your videos. I find your method of expaining guitst theory really clear! I have a quick question if you or maybe one of the folks in the comments could help. Why the F# major pentatonic scale in particular? Is it just that it shares the notes of the E Lydian mode?
I'm comfortable with using all of the 3NPS shapes for E lydian my brain wouldn't immediately work out that I can use F# Maj Pentatonic.
Thanks again for the excellent videos.
F# major pentatonic (or D#m pentatonic if you like) can be seen as superimposition over the E Lydian mode. It contains notes from the E Lydian scale and especially the #4th degree, which is characteristic for the Lydian mode. More important is that it creates a pentatonic feel in contrast to the diatonic Lydian scale. So you can see it as an alternative approach with a slightly different result.
phenomenal BT cheers
thanks a lot. this was fun and so cool. great groove. i loved playing the different scales on it. i learned mostly from playing blues scales, and so that's where i go to. i mix blues and major scales and play all over the neck. but jamming lydian is cool to this groove, and then switching a to e is something i never thought about. so, thanks for teaching me to add that to my arsenal. it's just one note different. all right, keep em coming cuz they are so fun
Thanks tvli!
Awesome channel : ,)
Thanks!!
Wow, well done!
Thanks mate!
works both with e ydian and aeonian...tip playc# minor pentatonic
this backing track in particular is Beaty and complex, this have some advanced concepts of harmony so you need to memorice where are the tonics, and mode notes of both scales in order to resolve
Your jam tracks made me want to get into Steve Vai, but I cant find any of his songs that sound as good as this. Can you recommend some Steve Vai songs?
Well thank you :) You could listen to "I'm your secrets", "K'm pee du wee", "Boston Rain Melody", "Melissa's Garden", "Resque me or burry me", Erotic Nightmares" and "Windows to the soul".
The first chord in section 3, the Amaj7#11 is listed and A, G#, C#, D#, then D as the last note though it is marked in the open E string in the chart. This is a mistake, right?
If the lydian scale was a person, it would be Steve Vai
Absolutely
I've jammed on this for over 10 hours to practice. However I always end up playing the same thing over and over. Am I the only one? How do you escape that? That would be awesome to hear what other play on this specific track. How do you break down the repetitive patterns, and create a original melody on those scales? Thanks-
Hi Baudouin, try this playlist where e.g. Sophy Loyd plays over this track, and to hear what others do: th-cam.com/play/PLxRygxr08wsXw2hHfrOZwN5Zka4AISMsT.html
Hello; I want to use some of your tracks in upcoming TH-cam videos. I want to "channel" some of my favorite guitar styles and post short (1 or 2 minute) vids of my playing. Is it OK for me to do that, and generally speaking, do you think other BT creators mind that sort of thing?
E Lydian is the fourth mode of the the B major scale, not F# major.
True, 5 sharps. Where in the video do I mention that it is otherwise?
QJamTracks you mention it at 3:52
E Lydian > F# major pentatonic
A Lydian > B major Pentatonic
Maybe it’s just a poor way of wording it though, I would have put it like this:
E Lydian = B major (Or B major pentatonic)
A Lydian = E major (Or E major pentatonic)
Also, great backing track, I love the feel of switching between E Lydian and A Lydian, it makes me think more than I usually do and it sounds way better that way!
Glad you find this track useful !
I see your point Wilson. In this part (3:52) I talk about making this Lydian track accessible for beginners by using only pentatonic scales. F#major pentatonic has 5 sharps and fits the E Lydian mode (allthough the root is missong). Same for A Lydian and B major pentatonic. Earlier in the video I show that E Lydian is the 4th mode of B major.
@@QJamTracks that is exactly what i needed. a simple way to figure it out! thank you for 3:52!!! :)
Great backing track!! I have a question I hope somebody can answer. I think there's a mistake when it says you can play F# major pentatonic in section 1, shouldn't it be F# minor pentatonic (instead of major). The same goes for section 2, when it says you can play B major pentatonic, I think it should be B minor pentatonic. Excuse me if I'm wrong, I'm just learning greek modes at the moment...
Hi Hector. Let me explain. The F# major pentatonic scale consists of the notes: F# G# A# C# and D#. These notes fit the E Lydian mode (E F# G# A# B C# D#) Especially the A# in the F# pentatonic scale triggers the E Lydian mode , because this is the raised 4th degree in the E Lydian scale. The same goes for the B major pentatonic scale over the A Lydian mode. Although it's maybe more common to call the F# major pentatonic scale: D# minor pentatonic. B major is the same as G# minor pentatonic.
Now, this is all part of the so called superimposing pentatonic scales over modes. Over the Lydian mode you can play the minor pentatonic scale of the major VII degree. You can view my tutorial about this subject and I think it will help you a lot: th-cam.com/video/7oKoiklz-WU/w-d-xo.html
Why/where does the F#major pentatonic come from? If the jam is in E Lydian and A Lydian where does F#major come in? Thanks.
The F# major pentatonic scale is a pentatonic superimposition of the major II degree in the lydian mode, which is common for improvising in the Lydian mode. It’s more often referred to as the minor pentatonic scale of the VIIth degree (which is the same scale).
So in E Lydian you could play F# maj pentatonic (D# min pentatonic). You will play the notes: F# G# A# C# and D#. You’ll notice the A# which is the raised 4th note in the lydian scale and characteristic for this mode. The same goes for A lydian and B major pentatonic.
For more on this subject watch: th-cam.com/video/7oKoiklz-WU/w-d-xo.html
hi im totally new to music theory, maybe this is an obvious question idk but is this a I7- IV7 ? i cant understand the progression Imaj7-II7-IVmaj7-V11 (Imaj7-vii11- iv11). i would apreciate if someone can explain me a bit
Hi Fran.
It's a E lydian chord sequence: Imaj7 - II7 (the 4th degree of the scale is raised). Section 2 is in the A lydian mode: Imaj7 - II(add11) - making it'way to the B11 chord which acts like dominant for the E chord in section 1. I hope this clarifies it.
way2workit!
This tablature seems upside-down to me. I am new to tablature though so maybe someone can eduacte me. Great Track!!!
Why is there no A# chords? Isnt that what makes the lydian sound the #4?
Hi Max. The A# is indeed the note that defines the Lydian sound. However an A# chord (that would be an A#b5 in this case) isn’t really necessary. Any chord which bares that A# inflicts the Lydian mode like e.g. the F# major chord (F# - a# - c#). A very short part of this track ha s A chord. Here you should leave the lydian scale and modulate to A Lydian. This is layed out in the video.
oh is THAT all???? :) I just jammed to this and it was awesome for me lol:) THANKS for creating it!
Aren't the chord diagrams for the Emaj7 and Aadd6add9 identical? Are they indeed the same chord, or am I missing something?
I'm confused. The parent scale of E lydian is B. So why would you play F# pentatonic over that? F# is the 5th degree of B not the 4th.
i dont know.. for me its just E major. in E lydian is A#. im wrong?
Thumb up x 1,000,000,000,000,000,000,000,000,000,000 !!!
This the one I did for Sabastien
Ok then a QJamTracks tribute then. It won't be on TH-cam. I have no way to post it anyway, it won't be sold . I'm doing it for fun that is all. It would be one SoundCloud only , I just enjoy playing improv. Hope you will reconsider ✌🏻peace
Sure Dane, You are free to make a tribute. Let me know when it's finished :)
Great but, sorry, E Lydian is the 4th mode of the B major scale....
That's right, 5 sharps. But where in the video do I mention that it is otherwise?
@@QJamTracks Oh sorry. By reading we can play in F # major penta, I thought you meant it was on the A Lydian! ups
@@JordanNicouleaud That's oke Jordan :). I saw your channel. You have some nice music there!
@@QJamTracks oh thanks !!
Neither of the 'Major pentatonic' diagrams show a major pentatonic? They show the minor version...
They are one and the same in terms of shape, just with different start/end points. Shape 1 of the minor pentatonic maps to shape 5 of the major pentatonic. Or if you're used to thinking in terms of minor pentatonic - shape 1 of the major pentatonic maps to shape 2 of the minor pentatonic.
@@gavinholt730 Thanks very much, that makes sense!
One more question.. what fundamental key is this actually in?
It's not really a key. It's a mode of the major scale: The E Lydian mode. This mode uses the same notes as the B major scale.
@@QJamTracks thank you for the reply, that's so cool!
I thought B maj. Seemed to work quite well as the fundamental key here. I'm struggling to understand where I can and can not switch between E Lydian and A Lydian here too, but more importantly why both of those work here, as there are some differences between those two scales
Scales:
B C# D# E--Scale B or G#m
☝🏻
E F G A--Scale E or C#m
☝🏻
Diagram around 3:07 is a mess show bloody scale in Caged system or 3 notes per string approach mixing two is very confusing!
The caged system is just one system. It surely works fine to get familiar with the basic scales and chords on the neck of the guitar. Once you nailed that, you should develop and learn more scale patterns and combine the scales you’ve already learned to make new patterns which give other technical and musical possibilities. Wouldn't it be awkward if you where stuck to this one system? So to develop and free yourself from limitations, one should play scales in any form and any position on the neck. There are many tutorials about the caged system and others about the three note per string scales. I’m just giving suggestions for scales and arpeggio’s that worked for me and my students.
QJamTracks i have to apologise for my tone i was kinda harsh-thank you so much for your clarification-yet all i was saying if you wanna teach show one of the systems mixing two gonna confuse beginners thats all i was saying-Caged system has several advantages the only drawback its not suitable tor shredding bec having two notes in one position🤔
You certanly have a point there Dave. I'll see how I can implement (even :) ) more clarity in the future video's...
Some people like having more options pointed out to them, and often someone already knows one or more systems well too. The trick when not taking real lessons is to go at your own pace and decide for yourself where you are as a student. These things are difficult at best for people to do themselves, and that's a major part of why taking actual lessons is always better. That said, not everyone can afford them. Enjoy the journey everyone. ^-^
Thanks for the backing track QJamTracks! Very well done and enjoyable to play over. Keep them coming. I had a go with it here: th-cam.com/video/l9w5KbXMSDU/w-d-xo.html
Guy how on earth B major pentatonic scale works over Amaj7????HOW?????????????
This is called the Lydian pentatonic concept. I will explain it to you. The mode in this part of the track is A Lydian (a b c# d# e f# g#). The B major pentatonic scale consists of the notes b c# d# f# g# which all fit in this A Lydian mode. The Amaj7 chord has two common notes with the B major pentatonic scale (c# and g#). Therefore this scale can be used over an Amaj7 chord in an A Lydian mode. You could even consider the B major pentatonic scale as an arpeggio (no root) of the Amaj13 chord with a #11. The #11 (d#) defines the Lydian sound. Just try and you’ll get the hang of it. See: www.guitarworld.com/lessons/jazz-guitar-corner-introduction-lydian-pentatonic-concept for a tutorial about this.
QJamTracks thank you very much you know the theory damn well good to see that-May i say that for A lydyan parent scale is E ionian and 5th mode is B mycolydian from which you derive B major pentatonic-Of fourse B myxolidyan has same notes as A lydian🤔
That's right Dave 👍
If you are playing pentatonic you are not playing a mode. The pentatonic leaves out the modal notes.
Km pee du wee is that you?
:) It's her sister ;)
QJamTracks and Boston rain melody's there cousin
It's all in the family ;) :)
I think E Major works better.