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.
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).
Below is a lick using the E Lydian (read B major scale) in the position VI.
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.
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.
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
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.
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.
- Chord voicings on guitar (ashdownguitarlessons.com)
- Get extra mileage out of those pentatonic licks! (ashdownguitarlessons.com)
- Introduction to Music, Part 9 (Intervals & Chords) (jamesgilbertmusic.wordpress.com)
- Pentatonic Improv (88creativekeys.com)
- Know Your Scales – Revisited (realtabsforguitar.wordpress.com)
- Have Yourself a “Modal” Christmas (guitargear.org)
- Church Modes: Why Do I Need Them? Part2 (jedbayes.wordpress.com)