Could you make a video about how to practice scales, arpeggios, chords, etc the right way? These videos are wonderful. I just get confused how to practice these scales without feeling repetitive or just that endless "up-and-down" all the time. Thanks a lot for all this content. You're the best music channel I ever found
Surprised not to see mentioned how I use it : Playing Lydian Dom a tritone from the root of a dominant chord ( in say a 251 ) gives you the notes of the Altered Scale over that dom chord. Another way to think of the same situation is to play Lyd dom starting from a semitone above the root of the chord that the dominant chord is resolving *to* e.g. improvising over a 251 in C would be - play D min arp or scale - then on the G7 play Db Lyd Dom ( gives you G Altered Scale notes superimposed on the G7 chord) then play C maj arp, scale - or whatever to resolve.
Grateful for this lesson. There's something about this mode that I wish to capture. It's so close to the mixolydian b6 scale, but doesn't have that uplifting mystical sound to it. It sounds... cooler and even funky if a dominant strum is in the backing track. If it doesn't have that funk element, then it sounds strange, an odd-ball encounter in a whimsical adventure.
Wow Rob you just made my day with this video! Excellent as always! Another tool for adding color to compositions! I liked all the examples but I especially loved the Metal one! I can't thank you enough for all that you do for us. Eternal thanks!
@@QJamTracks No need to be sorry Rob. I totally understand that you are always busy to make these excellent videos for us, so thanks for taking from your short time available to so kindly answer our comments. Thank you Rob, and may you have a nice new years eve as well, stay safe!
this is a scale i learned about a long time ago, but i think the rules around When to use it were very confusing especially if you're not a jazz musician! very helpfull as always, and i hope to take this more seriously in my improvs from now on! i'd love it also if you did a video on ionian #5, that scale always makes my ears go 'oooh, what was that'! but again, i have not much reference material to go on!
For me this scale provided the solution to resolving a back-door progression (IV-bVII-I). Since the dominant chord is naturally a 7#11 the scale kind of imposes itself upon you. I was playing it for a while without knowing it was called anything!
But wait, what do you mean “can’t play if it resolves to the one” ? If I am playing a f minor blues and suddenly go to the V/iv play a Lydian dominant lick over the F9 then go to the Bb min9 and just continue to play the F minor blues scale, how is that not going to work ? To me it sounds like it dose indeed work, specially if I add the blue note as a passing tone between F Lydia dominant and Bb minor 9… please explain
Great lesson! You mentioned that to get the lydian dominant sound (chord4) you can play chord one over chord three with the pedal point of the root of chord.My question is : is this a formula that works with any chord? For example could I superimpose chord two and four with the pedal of chord five to get the mixolydian flat six etc... And does it work with all harmonized modes of any scale? Thanks
Short answer is sure. Long answer is it depends how much dissonance you want at any given time. If you’re doing a modal riff in Phrygian dominant, go ahead and use Lydian dominant too but be mindful of the natural 2 clashing with the minor 2 and the sharp 4 clashing with the perfect fourth
1st class tuition! So much information in around 15 min, amazing!
This is fantastic! Incredible detail and easy to follow and understand. Thank you!
This was really thorough and easy to understand. Thank you for the great lesson.
Best channel for Guitar learning.
Could you make a video about how to practice scales, arpeggios, chords, etc the right way? These videos are wonderful. I just get confused how to practice these scales without feeling repetitive or just that endless "up-and-down" all the time. Thanks a lot for all this content. You're the best music channel I ever found
Ok, ok...
Nice i really enjoy watching your videos ! Thanks
Surprised not to see mentioned how I use it : Playing Lydian Dom a tritone from the root of a dominant chord ( in say a 251 ) gives you the notes of the Altered Scale over that dom chord. Another way to think of the same situation is to play Lyd dom starting from a semitone above the root of the chord that the dominant chord is resolving *to* e.g. improvising over a 251 in C would be - play D min arp or scale - then on the G7 play Db Lyd Dom ( gives you G Altered Scale notes superimposed on the G7 chord) then play C maj arp, scale - or whatever to resolve.
Thanks for your contribution!
So well put and in-depth ! Thanks a lot !
Thank You For The Awesome Lessons. Merry Christmas, Wish You & Your Family The Best For The New Year.
Thank you so much Kytronn! I'm a bit late with my answer, but I wish you and you family all the best and a happy new years eve!
I'm not done the fill video yet but this is so far the best reference material I've seen for a scale on TH-cam ever. Thanks so much!
Another awesome video Rob! A pleasure to see you playing, for sure you are a great composer! This channel is so full of reference information.
Thanks Rafael!
Thank you. Well done
Grateful for this lesson. There's something about this mode that I wish to capture. It's so close to the mixolydian b6 scale, but doesn't have that uplifting mystical sound to it. It sounds... cooler and even funky if a dominant strum is in the backing track. If it doesn't have that funk element, then it sounds strange, an odd-ball encounter in a whimsical adventure.
Great interesting class, exploring aspects and aproaches from the lydian dominant scale.
Excellent analysis, inspired to give this mode a run.
Nice!
Super useful detailed and applicable material, keep it up
The best explaination
Gold lesson!
Enjoyed the video. As always, there's a lot to unpack.
Thank you Tom :)
This is exactly what I've been looking for!!!
Wow Rob you just made my day with this video! Excellent as always! Another tool for adding color to compositions! I liked all the examples but I especially loved the Metal one! I can't thank you enough for all that you do for us. Eternal thanks!
Sorry for my delayed reaction. I've been so busy lately. Thank you Jose!!! And have a nice new years eve :)
@@QJamTracks No need to be sorry Rob. I totally understand that you are always busy to make these excellent videos for us, so thanks for taking from your short time available to so kindly answer our comments. Thank you Rob, and may you have a nice new years eve as well, stay safe!
Great channel. Thanks mate
this is a scale i learned about a long time ago, but i think the rules around When to use it were very confusing especially if you're not a jazz musician! very helpfull as always, and i hope to take this more seriously in my improvs from now on! i'd love it also if you did a video on ionian #5, that scale always makes my ears go 'oooh, what was that'! but again, i have not much reference material to go on!
Thanks for the lesson sir, subscribed.
Thank you
Great channel!!!
For me this scale provided the solution to resolving a back-door progression (IV-bVII-I). Since the dominant chord is naturally a 7#11 the scale kind of imposes itself upon you. I was playing it for a while without knowing it was called anything!
Lydian Dominant also works well on backdoor Dominants
I love this scale
TOP 🔥🔥
But wait, what do you mean “can’t play if it resolves to the one” ? If I am playing a f minor blues and suddenly go to the V/iv play a Lydian dominant lick over the F9 then go to the Bb min9 and just continue to play the F minor blues scale, how is that not going to work ? To me it sounds like it dose indeed work, specially if I add the blue note as a passing tone between F Lydia dominant and Bb minor 9… please explain
Great lesson! You mentioned that to get the lydian dominant sound (chord4) you can play chord one over chord three with the pedal point of the root of chord.My question is : is this a formula that works with any chord? For example could I superimpose chord two and four with the pedal of chord five to get the mixolydian flat six etc... And does it work with all harmonized modes of any scale?
Thanks
Fantastic
Merry Christmas My Friend!
I'm a bit late with my answer Dana. Best wished for you too and for later on: a happy new year!
Charles Ives used to imploy this scale.
Great lesson, superb... But I dont get it why it cannot be used over V7-I progression (resolved dominant)...
Could you construct a tone with overtones in another mode on say a synthesizer? I wonder what that would sound like?
Mode 4 of melodic minor if I’m not
Mistaken
Shimpsons
Lydian dominant... Of course he is using the Steve Vai signature!
i wonder if i have thrash y phrygian dominant riff can i solo with this scale over it?🤭
Short answer is sure. Long answer is it depends how much dissonance you want at any given time. If you’re doing a modal riff in Phrygian dominant, go ahead and use Lydian dominant too but be mindful of the natural 2 clashing with the minor 2 and the sharp 4 clashing with the perfect fourth
@@Meshuggapeth actually i shall experiment and see how it goes kind of tired of Harmonic minor but such a lovely scale hahahah
@@MsDavo123 my favorite mode of harmonic minor is Dorian #4
@@Meshuggapeth nothing beats phrygian dominant but shall experiment with your favourite ad well
Fuck… add on the second minute…