Using the Lydian Mode

38954_422793518215_501308215_4610668_3753202_nSometimes we stumble upon the Maj7#11 chord in our musical ventures.

The maj7#11 chord is sometimes referred to as the Lydian chord associated with the fourth step in a harmonized major scale, at which we find the Lydian mode (major scale with raised 4th).

In this lesson we will look at 3 possible approaches, which will also work to color up a normal major triad,  maj7 chords, 6 chords, maj7 9, 6/9 chords or
majo 7/13 chords.

The raised fourth gives the mode an airy sound. Some players that use this as one of their favored scales are: Steve Vai, Joe Satriani, Eric Johnson, Scott Henderson and John Scofield and Albert Lee. The scale is commonly applied by many jazz guitar players and modern rockers alike.

Lydian mode

The lydian mode to which the maj7#11 chord refers is the fourth mode of the major scale. So an F maj7#11 is associated with the F Lydian mode which is the C major scale but started on the fourth note. While some people prefer to learn and use the Lydian mode, I teach my students to play the major scales they already know and shift the tonal center/ root to F.

Below is an example of the E lydian mode played in the VI position on the guitar. Effectively however you can translate that back to the B major scale which has the E (lydian mode) on the fourth step. (E.g. B major scale over E).

Lydian 001

Below is a lick using the E Lydian (read B major scale) in the position VI.

Lydian 002

In one of the lessons we discussed the G major scale. In this lesson we found the lick the following G major lick.

Trying shifting this lick up four positions and play it over a E chord.

Pentatonic Scales

Most guitar players start their lead guitar playing and improvisation using the minor pentatonic scale. In this case the pentatonic approach offers some additional options where it comes to playing extended sequences 0r when you enjoy a more layered approach.

First of is the pentatonic scale half a step below the root of the chord. So of we go for E, that would make it the  D# minor pentatonic which has the notes D#, F#, G#, A#, C#. When we set off these notes against an E major chord the pentatonic scale provides us with the maj 7, 9, 3, #11 and 6/13.

Lydian 003

Why I like using pentatonic scales is because they lead easier into motive type of approaches with less of a risk of sounding like you a racing up and down a scale.

While the D# minor pentatonic scale is the preferred one for outlining the Lydian mode, the (E major) or C#minor pentatonic scale allows for outlining the major triad and 6 chord. The B major (or G# minor pentatonic scale) is another way of outlining the chord and is closest related to the underlying B major scale.

Here a D# minor pentatonic lick over E maj7

Lydian 004

Shifting around triads

Sometimes you will find the lydian chord represented as a slash chord.
The E maj7 may sometimes be written down as a F#/E (read F# with an E in the bass or F# over E root).

Similar as to indicated for the use of pentatonic scales, you could move around these two triads as arpeggios and it will create some nice lead lines.

Lydian 005

To add more possibilities you could opt to also include the two minor parallel triads of E and F#, being C#minor and D# minor.

Have fun and try out some of your general major licks as lydian licks by changing the underlying chord. So if you have some licks in C major, try what happens if you play these over an F chord, or some licks in G major over a C chord Likewise, if you have some A natural minor scale licks, play them over F, E natural minor scale licks over C etc.  You’ll be amazed how these same old licks get a new life when applied in a different context.

Have fun.

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Minor Pentatonics, Autumn Leaves

Recently I have been working with a student on using your pentatonic scales for jazz improvisation purposes. I have found them useful especially because of the notes left out. Just for the record, I do not make a difference between minor and major pentatonics in that as far as I can see it they are the same, be it not that many guitarists started out their lead guitar playing with the minor pentatonic scale and blues scale. So when I speak of using the G#min pentatonic scale over B7 others will speak of the B major pentatonic scale which is the same only it starts on the B (the second not of the G# minor pentatonic scale). I like to keep things simple.

The first  eight bars of Autumn Leaves are:

|| Am7 | D7 | G maj7 | C maj7 |

| Fm7b5 | B7 | Em | Em E7 ||

Below is an example of how you can use the minor pentatonic and blues scale over the chord progression set out previously. Please be aware that this is an example and as far as I am concerned it is one of the many ways in which you can improvise over the song.

Analysis

Now lets see what is happening here:

Bar 1: A min pent (V) goes to B min pentatonic (VII) which creates a nice sound adding the 9 and 13 besides that it moves right into the next bar (D7) in which we will play C min pentatonic

Bar 2: C minor pentatonic (VIII) even though it has the 11 in there, the emphasis is primarily focussed on the b9 and the b13, Mist of all it sets up to chromatically resolve into the B minor pentatonic that can be used over the G maj7 chord

Bar 3: Using the B minor pentatonic this creates a nicely grounded flavor while at the same time adding a 9 and 13 in your lines.

Bar 4: I used a pattern in sixteenth notes in E blues scale (VII) and repeated the pattern in pos II which would make that the B blues scale. The f# creates the airiness associated with the lydian scale. By repeating the same pattern yuou also create that sort of modern sound.

Bar 5: again a repeated pattern using F# blues scale (II) and A blues scale (V) all notes, even though their weird signature (sorry it was my power tab) are all closely related to the chord

Bar 6: Over the B7 I played a G# blues (IV) scale and a F blues scale (I) but avoiding the Bb note although it would work as a chromatic note to b, and thus I slid very nicely back into a Bar 7 -8 E blues scale to play over the E minor (open). The last two notes are the 3 and 7 of an E7.

I also suggest you read this lesson >>> which deals with the same subject in general terms. Or find the chord melody arrangement (beginner level) of the song here >>>