![]() ![]() 4), we have a similar approach to the previous example. For the audio I’ve played this starting in the second measure of the blues form.įor our second lick ( Fig. The line then moves up a dominant 7 arpeggio and lands in real blues territory with a classic little minor-pentatonic cliché. 3) works well over an extended dominant 7 chord vamp, and while the first measure contains both the 4 and #4, we anticipate the second measure by resting on the #4 and playing around with a little fragment I’m fond of in this position. While the C9#11 doesn’t actually contain the 3rd, this perfectly highlights the sound of the scale to my ear. The idea here is for you to play these chords and familiarize yourself with their sound, since this is the sound you’ll create when playing the Lydian dominant scale over a regular dominant 7 chord. And when it does come along, the scale won’t sound “outside”-it will just sound “inside” on an admittedly unusual chord. While technically the Lydian dominant scale creates a 13#11 sound, if you wait for that chord to use this scale, you’ll be waiting a while. When I’m improvising, everything is harmony. 2, I’ve written out some chord voicings for you to play around with. To help visualize this scale all over the neck, I have included diagrams for all the CAGED positions as well. You can think of it as simply a color from a different palette. It’s the sort of sound you’d expect to hear from players like Larry Carlton, John Scofield, and Scott Henderson more than, say, B.B. To my ears, the Lydian dominant scale has a quirky, yet mysterious sound, and resting on that #4 can really create a sense of excitement and exploration. Listen closely to each and try to describe how the sound of each solo makes you feel. For your reference, I have recorded two audio examples over the I and IV chords of a blues, first opting for a Mixolydian scale, then the Lydian dominant. ![]() The real important point here is for you to engrain the sound of each of these scales over a dominant 7 chord. As you can see, the only difference between the two scales is the raised 4th degree. 1, I’ve written out both the C Mixolydian (1–2–3–4–5–6–b7) scale and the C Lydian dominant (1–2–3–#4–5–6–b7) scale in the fourth position of the CAGED system, also known as the “A” shape. The Lydian dominant scale (aka Lydian b7) is actually the fourth mode of the melodic minor scale, but to avoid a deep lesson on modal relationships and melodic minor harmony, we’re going to make this really simple and instead adjust something you likely already know. In this installment of Beyond Blues, I’m going to introduce you to the Lydian dominant tonality and help you quickly bring this flavor to your playing. That said, if you’re an avid blues player, sometimes there’s nothing better than pushing the boundaries of the genre-either to add some new ideas into your blues or just to appreciate the complexity of the genre a bit more. ![]() you might as well hang it up.” -jazz legend Dexter Gordon So whether or not you’re a blues musician, injecting a little blues into your phrases can be good for the soul. From bebop to rock ’n’ roll, country to heavy metal, the blues always has been-and always will be-a huge part of who we are. There’s no denying the deep roots of the blues, and, of course, the resounding effect blues has had on just about every musical genre that’s come since.
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