The Best Way To Use Lydian and 5 Musical Ideas

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You should have the Lydian Mode or Lydian Scale in your vocabulary. It is a beautiful and great sound that you can work into your guitar playing in a musical way as a great extra color.
When we think of Lydian then it is only about the #4 or #11 and you can't make great melodies with just one note, so in this video, I am going over how to 5 ways you can make some great Lydian melodies and add those to your playing. That way you can really get started working on using The Lydian sound like a great extra color in your guitar solos
The Lydian Mode is often what I hear beginners say that they use because they think it sounds great to say that and actually they are just looking for a scale where they can run up and down the scale without thinking about it.
Content:
0:00 Intro
0:41 How You Should Use Lydian
0:54 A Bit of Context in a Chord Progression
1:38 Where to use it and How Often?
1:50 Example #1
1:54 A Great Pentatonic Solution for Lydian
2:47 Example #1 Slow
2:53 The Difficulty thing about how we think about Lydian
3:23 Example #2
3:28 A Lydian Triad Pair
4:54 Example #2 Slow
5:01 Example #3
5:06 A real Lydian Arpeggio?
6:01 Example #3 Slow
6:06 Example #4
6:10 Shifting Up An Arpeggio a 1/2 step
7:32 Example #4 Slow
7:56 Example #5
8:01 A great Sus4 triad and how to move it around in a melody,
9:36 Example #5 Slow
9:43 Like The Video? Check out my Patreon Page
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9 июл 2024

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Комментарии : 80

@JensLarsen 5 лет назад

The Lydian sound is great to throw in there. Do you have a sound you like to add to songs you solo on? Content: 0:00 Intro 0:41 How You Should Use Lydian 0:54 A Bit of Context in a Chord Progression 1:38 Where to use it and How Often? 1:50 Example #1 1:54 A Great Pentatonic Solution for Lydian 2:47 Example #1 Slow 2:53 The Difficulty thing about how we think about Lydian 3:23 Example #2 3:28 A Lydian Triad Pair 4:54 Example #2 Slow 5:01 Example #3 5:06 A real Lydian Arpeggio? 6:01 Example #3 Slow 6:06 Example #4 6:10 Shifting Up An Arpeggio a 1/2 step 7:32 Example #4 Slow 7:56 Example #5 8:01 A great Sus4 triad and how to move it around in a melody, 9:36 Example #5 Slow 9:43 Like The Video? Check out my Patreon Page

@whiteyplaysmighty8503 5 лет назад

Sparse alterations on scales over a constant structure (parallel harmony) to create angularity. For instance, using a major flat 9 scale over a M7 shell voicing as opposed to ionian to create a little more tension or darkness. Shell voicings are great for this because they can be "abused" due to how vague they can be (as far as modality is concerned.)

@damonshanabarger2604 5 лет назад

Hi Jens: This is Damon again. I really love this video. I haven't had a chance to look at the Monk video yet. What can I say, "The Monk is monumental." Changing the subject, the song Samantha has particular sentimental value to me. I realize that it is a Cole Porter song, but I have it on my James Chirillo / Sultry Serenade compact disk. 2016 release. This is a very good Jazz album and James Chirillo plays very well on it. The song, "I love you, Samantha," is very decent and religiously sacred to me. Could you please give a lesson on James Chirillo on this particular song. I would deeply appreciate it. Swan say, "Jam More." I honestly hope to get strings back on my guitar soon. I hope the one that looks like Samantha will enjoy it. I also wrote a comment on this video on my own thread. I made some interesting points on naming and renaming chord note relationship perspectives. I hope you're not angry with me for expressing myself on this Earth. What I believe in is real to me.

@damonshanabarger2604 5 лет назад

I bought your book on the Amazon store. I hope this helps. I am so very poor.

@AmandaKaymusic 5 лет назад

Semitone chromatics to the tonic of a chord always working, semitone blue notes in the final melody note, Key changes, swing, poly rhythms and the blend of them feeling smooth or jarring and still working. The clave fascinates me as well. The combination of shorts and longs in some jazz, brought in from other more traditional music genres (Bulgarian, Flamenco, Macedonian, Klezmer...). Unexpected yet 'right' final notes make me smile in solos and at the end of a section or the song.

@damonshanabarger2604 5 лет назад

Dear Jens Larsen: I have given this much thought. I realize that this is not the key you were playing, but, the open strings of the guitar, for example: Em7 (add4) also A sus4 (add9) also D sus2,4,6 also G∆6/9 also Bm7 (add4) b13 This is of course all five pentatonic perspective. From the G∆ pentatonic perspective G∆6/9 if we add our melodic Jazz minor notes F and Db we would have intervals b5 and b7 This of course would not make sense because of the ∆3rd which is the note B. Proper perspective would dictate that we would call it a #4 or #11 since it is not diminished value without the minor third. This is not the case with the song I was composing last summer which was absent the third interval. The particular minor Major axis was determined by the usage of the chord which was passing but nevertheless augmented because of it's relative relationship with the Dominant, Dominant sus4, and inverted same after. I have not a clue as to why you would think that I would argue your own perspective on when you would call something sharp or flat same note. I always think basically minor flat, Major sharp. Although I have not yet actually given this lesson a thorough review. Unless you are being particularly sneaky and are trying to test me, I think I am intelligent enough to figure this out when I get sufficient time.

@SharpElevenMusic 5 лет назад

Thank you Jens for your development work. You get our Nobel Prize for World Peace. We need more Lydian.

@JensLarsen 5 лет назад

I am very honoured! Never knew there was a Belgian Nobel prize as well! 🙂 Does it include some Belgian beer?

@SharpElevenMusic 5 лет назад

@@JensLarsen Definitely, we should produce some special #11 Beer!

@willyevans 5 лет назад

Cheers to the best jazz guitar teacher on line today. May you live and play forever.

@JensLarsen 5 лет назад

Thank you, Willy.

@AmandaKaymusic 5 лет назад

Avoid vanilla sounds is such great advice. Being brave. Finding the jazz of music is always exploring the edge. That is where I get excited. Resolving the 'out there' notes that feel uncomfortable blending with the resolution of the musical formula is such a treat. Bland jazz without unsquare notes, following an already expected progression in jazz can loose the exploration. Sharp 4 is what I find less predictable. Emphasising that sharp 4 to bring the edge is such a treat to listen to. Thanks Jens,

@JensLarsen 5 лет назад

Glad you like it 🙂 It is indeed a good idea to explore a lot of sounds

@jameslockhart2223 11 месяцев назад

Shifting from the dominant arp over V7 to the VM7 arp over the tonic chord is a nice move. The b7 goes up a semitone to create the #4.

@downhill240 5 лет назад

Whoa! Just went over my head. I'll have to watch this some more! Thanks for sharing.

@JensLarsen 5 лет назад

Glad you like it 🙂

@damonshanabarger2604 5 лет назад

Hi Jens: This is Damon again. Although I am a beginner at Jazz, I have composed music using elements of Jazz within these music pieces. Either straight forward or otherwise. There are many complexities within all forms of music. I am far from being a beginner of understanding music. Although I haven't the time to scrutinize this lesson, it does appear to be particularly intriguing and I believe is in this case worth my complete attention. I never said that there was one particular rule in which you would name a chord or note. There are many cases in which you would call something by a different identifying term. POLYTONAL CHORD STRUCTURE, usually used within a passing chord. Case in point: with or without the 3rd is implied Major or minor, (+) Aug or (-) diminished, what key it is in, what inversion, what the other band member playing. In your case it does appear that your stretched across many different keys and are not coming out of one key except for the naming of this or that. I should hope that I didn't make myself look like an idiot. I don't know if you're trying to test me. Like I said, I haven't had the chance to properly scrutinize this lesson. I am most certainly going to get back to you on this one in the future. Acknowledgement of this comment would be acceptable to me for now. Thank you Jens Larsen.

@grobertabidbol4005 5 лет назад

Brilliant, as always!

@JensLarsen 5 лет назад

Thank the!

@korkenknopfus 5 лет назад

Very interesting ideas that I didn’t know at all. I found your channel after purchasing Modern Jazz Guitar Concepts and think I’ll keep visiting it. Thank you!

@JensLarsen 5 лет назад

Thank you! Glad to hear that! I hope you like the book :)

@eternalrainbow-cj3iu 5 лет назад

Hi Jens, I like your approach and the way you ontroduce some basic aspects in a away that each time a new thing is there to be learned...in this case abot the 4th degree, I do realise the truth in your approach, still what is happening let us look at it in a different perspective: Dm7 G7- Gmaj7/C resolving to Cmaj7, so we change our Tonic in a subtile way to emancipate the Vth degree in a subtile way...so playing I V7=Tonic so in a way the 7th is not resolving down ward only but aswell upward to the F# the 11th but from a different angle we could as you said recognize Gmaj7 4voiced chord there upon a C pedal.

@RobertoDiPaola 5 лет назад

Great video Jens. nice trick of shifting chords made of halfdiminished arpeggios.

@JensLarsen 5 лет назад

Thank you! Glad you like it 🙂

@DESIENASHOES 5 лет назад

fantastic sound, remember me the early Pat Metheny - bright size life - album

@shawndimery 5 лет назад

I love example 5 especially, I really need to work on odd groupings for my vocabulary

@JensLarsen 5 лет назад

Thank Shawn :)

@Marunius 5 лет назад

I found it a bit funny that in the first example you talk about the Lydian sound and how it's simple to create using a pentatonic scale but if we take a look at one bar before, the alterations going over that G7 are super and not a word is said :D. Thank you Jens for posting so frequently, it's incredible!

@JensLarsen 5 лет назад

Well, I have other videos on altered dominants right? :)

@Marunius 5 лет назад

@@JensLarsen True, true! But I wonder what is your thought process when you make these examples, as in - what to include in the bars that you're not trying to expose?

@JensLarsen 5 лет назад

In this case I was thinking about making something that really clearly wanted to solve to a maj7 and then go to a maj7(#11). That's why I altered the dominant, for a lot of people it is going to make the I chord more clear and therefore also the #11 in that context.

@dkwvt13 5 лет назад

Great ideas here as always... You had me at sus 4! 😎. Thank You!

@JensLarsen 5 лет назад

Thank you,Donald 🙂

@plopzoppers3921 5 лет назад

lydian is so fun to play and it sounds so good. always loved playing it instead of ionian for that #4

@JensLarsen 5 лет назад

Glad you like the video, George

@eternalrainbow-cj3iu 5 лет назад

your sus4 encircling od meter-hemiole is realy supphisticated..I will dopt that, as you maj7 b5 lick!(LOL), it prooves that also a root and a 7 without a 5 sound tremendous neatiful, in such a way performed! Thank you for the nice inspiration! maybe you could the next time also play those things in triplets or even 16ths examples????(without being to fast maybe in a ballad preset-tempo orso?

@sonicsaviouryouwillnotgetm6678 5 лет назад

Scott Henderson talks about this in his video, but in practice I have difficulties to make it work and I usually sound too off. These lines will definetly help, but I need to practice other stuff first like arpegiating the songs that we play and emphasiszing the changes. Could you do a video on decending or ascending fiths chord progressions and ideas on how to solo over them? Stuff like D7 - G7 - C7 - F7 -Bb that happens in tons of swing stuff like Five Foot Two and similar.

@JensLarsen 5 лет назад

True, you are better off working on this when you have the basic harmony covered :) Actually a first step to using lydian could be to find some places in songs where somebody uses it in a solo?

@efesonugur4115 5 лет назад

you are godsent

@JensLarsen 5 лет назад

Thank you 😊

@samriehl7163 5 лет назад

Yens could you do a video on how to make arpegios for each of the diatonic shapes? It seems like each arpeggio has a skeleton, be it major or minor with one extra note that makes it one of the modes. Is this the case?

@JensLarsen 5 лет назад

Actually the video going up Thursday might help with that 🙂

@shitmandood 5 лет назад

I've read that Lydian being described as giving a sense of wonder in its sound. When I listen to Satriani, I can definitely tell when he's using it. However, when I hear it in a jazz context, it sounds very nuanced. It almost doesn't sound much different from Dorian or Mixolydian..just a slight variation of the two. I can distinctly hear Phyrgian, Locrian, Minor, and Major. Not sure why Lydian seems very subtle in a jazz context. Without more emphasis, maybe only a few people would be able to tell it was being used.

@JensLarsen 5 лет назад

One of my students brought in a Satriani piece where he only plays Lydian. In a piece like that it is clear,but also the entire point of the piece I guess?

@shitmandood 5 лет назад

@@JensLarsen What's a good jazz tune that exploits the Lydian to fullest extent? Also, have you experimented with Alternate Tunings? I just set this old Variax I have (it's a hardtail) to Major Third (M3) Tuning and also tried it with Low Tuning (C to C, down tuned a Major Third). Originally, I was looking for the low tuning as mentioned by John Stowell, but had stumbled onto M3 Tuning & read a great deal about it. Apparently, the tuning is such that you can get more embellished chords in easy hand configuration & things like the whole tone scale, can be played in practically a pentatonic pattern, though had some drawbacks on what kind of strings to use. I was just amazed at the potential, but almost nobody is using it...it's like a black art. As for low tuning (C to C), it feels like a toy guitar, however, the strings are easier to play/bend & you need a delicate touch on the low E (or low C in this case), otherwise it can warble out of tune. In fact, I had a tough time down-tuning to C as my guitar tuning device was getting confused on what key the Low E was in (kept togging between C and G#). The Low C tuning was fun to play, but not different from standard tuning other than pitched down. Whereas the M3 tuning is an altogether different beast, as if it were designed to be the ultimate jazz guitar cheat sheet...I mean if the tough jazz chords are now handled with simple fingerings, that may allow you to use wider ranges to produce something ridiculous or unobtainable in Standard Tuning.

@damonshanabarger2604 5 лет назад

@@shitmandood I think what is being implied by this lesson is that the #4 added to the ∆7 chord is of a sharp value a lydian to the inversion of the major 7] but, the major third is the make or break factor because of the dominant Lydian factor, otherwise it would be of a diminished value. Pay attention to the tritone. For example diminished double flat seven as opposed to the half diminished. You need to get a full understanding of the dominant Lydian. Not all chords are dominant Lydian. The major third is a b7 to the #4] inverted is a 2 or 9. Thus, a 4 is a 5 and a 9 is a b7] There are certain rules that apply in Jazz which determine what can be defined as a dominant Lydian. The D major angle of the B minor pentatonic perspective: D∆6/9 #4flat7 or A melodic minor. There are many five different angles of the pentatonic perspective, but the major D needs the two extra notes from the melodic minor in order to form the Dominant Lydian. The dominant 11th perspective is the same most important. Dominant 11 (add9) diminished 6th. I often listen to Joe Satriani, but this is a Jazz class. Get a grip.

@eternalrainbow-cj3iu 5 лет назад

Hi Jens, i do aprreciate and like your maj7 b5 lick but why not write it as a Gb? Than nobody could say a word? of cors it doesn't matter at all, and you gave us a good explanation why...but maybe this is helpful for you also...

@JensLarsen 5 лет назад

If I write Gb then that would suggest that the scale has no G...

@kukumuniu5658 5 лет назад

1:27 - I don't understand,why I don't want emphasise #11 (note b) if this is a characteristic note for F lydian (together with note e)? Dm7 G7 Cmaj7#11 - it is not just modal interchange?

@JensLarsen 5 лет назад

You don't want to emphasize a note in a context where that makes it sound like another chord in the key. Try it it in bar 4 of Autumn Leaves :)

@kukumuniu5658 5 лет назад

I wonder We are able to say what is the best jazz album in the world? (or more precisely post-bop). Michael Brecker - Tales From The Hudson (1996) 1997 - 40th Annual GRAMMY Awards "Cabin Fever" Best Improvised Jazz Solo Best Jazz Instrumental Album (beast '97 ,what is best of the best?)

@JensLarsen 5 лет назад

That is too subjective to be really interesting 🙂

@juliobonnemaison9179 Год назад

#11 and b5 is some how an enharmony... There's nothing wrong with that. On the contrary, it is an esay way to see things faster.

@mathos1268 5 лет назад

The #11 would mean that there is a 7th note in the chord (and the b5) right ? . So you said b5 chord sugesting that there isnt a 7th note in the chord?

@JensLarsen 5 лет назад

#11 suggest that there is a 5 in the arpeggio (or chord). There is no 5, it is a 4 note arpeggio, that's why I call it b5 :)

@dfhwze 5 лет назад

The 7th distinguishes a #11 from a #4. Both require a 5 or #5 to get acknowledged though. A 5th likes to eat its neighbouring notes, it's very 'dominant'.

@ibrahinmurillo4537 5 лет назад

Jens, feliz día internacional del jazz. Te dejo este vídeo conmemorando el día ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-V2-Jl2W9XsU.html. Un abrazo fuerte.