Backing Track: STEVE VAI Style Dreamy E Lydian/A Lydian Mode 

Good to see you like the video Ockert!

Thanks Tom! That's what the tracks are for. Glad it worked out for you.

Thank you again Sebastien! :). Greetings and lots of succes with your channel!

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?

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.

I'll keep that in mind and incorporate it in the next vai style video :)

Thanks Brian!!

Thanks!!

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. 🤟🏻

Thanks Alex!

Thanks!!

Thanks Massimo!

Thanks Dana! The song starts when the improvisor starts ;)

Thanks!!

Thanks!!

Thanks tvli!

Thanks mate!

Thanks Chris!

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.

Absolutely

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!!! :)

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".

Hi Baudouin, try this playlist where e.g. Sophy Loyd plays over this track, and to hear what others do: ru-vid.com/group/PLxRygxr08wsXw2hHfrOZwN5Zka4AISMsT

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: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7oKoiklz-WU.html

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.

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: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7oKoiklz-WU.html

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!

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 !!

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!

Sure Dane, You are free to make a tribute. Let me know when it's finished :)

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

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 👍

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. ^-^

:) It's her sister ;)

QJamTracks and Boston rain melody's there cousin

It's all in the family ;) :)