GUITAR SOLOING #015 - Soloing with Lydian Mode
December 22, 2017:
Lesson 015 - Soloing with Lydian Mode
Lesson 015 explores this...
In Part One of the lesson, we'll study how to use Lydian mode as it functions off of some very unique modal harmony and 7th-chord applications. In Part Two of the lesson, we'll study more advanced applications of Lydian by using it for the "Major 7(b5)." Plus, we'll also learn how the Lydian mode is the perfect way to cover non-functioning Major 7th chords.
Watch the Part One Video FREE on YouTube:
PART ONE: In example one, a "D Lydian" modal progression using the tonic chord of "D Major" travels upwards in harmony by a whole step to it's "II-chord" (E Maj.). In example 1a, I've composed a 2-bar progression that you can learn and then record for jamming over. In example 1b, I've included a short melody line that is composed from out of the "D Lydian" mode.
Example two explores 7th-chord harmony within the "G" Lydian mode. The sound heard in this progression is commonly used in styles like; Soul, Fusion and Jazz, (along with some forms of rhythm and blues). The 7th-chords are applied as a way to surround the direction of resolution into the "G maj7" so that the "G" Lydian mode becomes the anchor of the tonality.
Example two explores 7th-chord harmony within the "G" Lydian mode. The sound heard in this progression is commonly used in styles like; Soul, Fusion and Jazz, (along with some forms of rhythm and blues). The 7th-chords are applied as a way to surround the direction of resolution into the "G maj7" so that the "G" Lydian mode becomes the anchor of the tonality.
PART TWO:
Example three is composed of a series of dreamy arpeggiated chord changes that apply broken sounds of, "F maj7(b5)," "B diminished," and "C add2." With this strong Lydian mode harmony, the progression establishes a solid connection to the "F Lydian" mode. The Tonic Chord is most interesting, [Major 7 (b5)] as it anchors the color of, "F Lydian" and produces a solid backdrop for the accompanying melodic line.
Example four, demonstrates the use of Lydian mode over, "Non-Diatonic" Major 7th chords. Many chord progressions in Jazz and Jazz-Fusion music will introduce Major 7th chords that do not relate to the underlying key center. These Major 7th chords are referred to as, "Non-Functioning," (or "Non-Diatonic"). Basically, they are chords that do not fit into the key signature. When these chords are of the "Major 7th" quality, they can be covered by using the "Lydian Mode."
Example four, demonstrates the use of Lydian mode over, "Non-Diatonic" Major 7th chords. Many chord progressions in Jazz and Jazz-Fusion music will introduce Major 7th chords that do not relate to the underlying key center. These Major 7th chords are referred to as, "Non-Functioning," (or "Non-Diatonic"). Basically, they are chords that do not fit into the key signature. When these chords are of the "Major 7th" quality, they can be covered by using the "Lydian Mode."
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The chord progression in example four does not function harmonically within one single tonality. The first two measures (E maj9#11, G#m7), can be covered using the, "E Lydian," mode. However, in the third measure, the "F# maj9" does not relate to the first two measures harmony. This chord is considered "Non-Diatonic" and can be covered by using, "F# Lydian." The final measure returns to the sound of "E Lydian."
Paid members can download the handout along with the MP3 jamtrack in the members area at: CreativeGuitarStudio.com
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