Lydian Sharp 9 Uses (Kurt Rosenwinkel & Mark Turner Style) - Joel Bell

lyDian #9 Uses C harmonic minor

          3

4th mode of harmonic minor = Ab Lydian #9













 

 

C Lydian #9

 



5

C²©9

7

C²©9/A¨









     

Can also function as an Ab altered dominant, giving these alterations: #5 and #9 This gives the formular of substituting a lydian #9 chord a major third away from the root of an altered dominant.

     

C² Can be approached by 4 different dominant chords, each a minor third apart.

13

13th arpeggios Bb7

        

16



G7 Bb7 Db7 E7

          

We can apply the substitution to each of these chords, giving us 4 different Lydian #9 scales.

D Lydian #9

Diatonic triads from two scales. D Lydian #9 F Lydian #9

B Lydian #9 D Lydian #9 F Lydian #9 Ab Lydian #9

      

C²

      

Db7        

C²







Although the scale is functioning in the context of the altered dominant it is substituting for, on another level, it is also functioning in it's own right. This is a tonic with a raised ninth; thus it can also be approached by one of it's own dominant chords, as detailed above.



F#7 A7 B Lydian #9 C² C7 Eb7

F#7 F#7 F#7 A7 D Lydian #9 C² A7 F Lydian #9 C² A7 Ab Lydian #9 C² C7 C7 C7 Eb7 Eb7 Eb7 Copyright © Joel Bell