MI - Modes for guitar.pdf

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fpvfurw by TOM KOLB

ISBN U-h3q-01,8??-1

ITJ HAL.LeoruARD. lr-coFlpoRA-rIoN 7777

W, BLUEUOUND

RD. PO.BOX

13819

MTLWAUKEE. Wt 53213

C o p y r i g hOt 2 0 0 1b y H A L L E O N A R DC O R P O R A T I O N InternationalCopyrightSecured All RightsReserved

Aleorrt

the

Arrthor

withvocational (G.l.T.) sincegraduating Institute at Musicians om Kolbhas beenan instructor classes curriculum such core He teaches in 1989. "student award of theYear" honorsand the well as popas Workshop, RhythmGuitar,and RhythmSection lmprovisation, as Single-String Editor Tomis Associate likeMelodicSoloingand ClassicRockLivePlayingWorkshop. ularelectives on overa dozenStar Licks artist featured is the and magazine, One for Guitar and featuredcolumnist videos. and Hal Leonardinstructional A veteranof over4,000gigs,Tomhastouredthe U.S.and Europe,servingas a sidemanand/ormusia maintaining cal directorfor majorartistsas wellas playingwithhis own band,the Gurus.Currently juggling playing/teaching/songwriting his he enjoys sessions, busyscheduleof livedatesand recording careerin the LosAngelesarea.

Acknourrledgrrrents loveand support;my wouldliketo thankmy wifeHedyand daughterFlynniefor theirunconditional at Hal LeonardCorporation. me in my musiccareer;everyone momand dad for encouraging my students,withoutwhom I not least, last but and Institute; Musicians Licks; Star and GuitarOne. growing muslclan. as a perennial to keep drive wouldprobablylackthe

W-wrwsw$SR.w ffiW W.wwNwwwRNwww Kolb Guitars,bass,and keyboards:Tom DaleTurner and drumprogramming: Engineering Audio Intimate at Recorded

tEontents CD TRACKS

PAGE

lntroduction 1

4

About the Recordincr ' Trrning Notes

2-4

The Theory of the Modes

5

5.15

lonian

1()

16-24

Dorian

16

25.?2

Phrygian

7,

33.4(D

Lydian

25

41-5o^

Mixolydian

3(D

51-59

Aeolian

36

6,0,-67

Locrian

42

68-83

Other Modes

46

Guitar Notation Legend

lntrodrrction subjectfor guitarists'But at the he modesof the majorscalehavelongbeena fascinating The purposeof this and misunderstanding. sametime,theycan be a greatsourceof confusion I you throughthe worldof theirappliil"', ,. i" lnravelthe mysteriesof the modesand to guide I as a situations' we'll takean in-depthlookat how modescan be usedin varioussoloing cations. progressions' sourcefor creatingriffs,and as toolsfor writinguniquechord examples,as well as Eachchaptercontainssuggestedfretboardpatterns,lrcks,and musical on the accompaEachexampleis demonstrated valuableinsightsintoeachmode'suniqueapplication. for each mode,so you can progression" nyingcD. Thereis alsoa jam trackfeaturinga "play-along we'll in the finalchapter, bonus, As a special setting. practice applyingthe modesin an improvisitional exploresomeof the modesof otherpopularscales' of thisbookand workyour thatyou startat the beginning Althoughit,shighlyrecommended familiar it-yo, prefer,you can jump in anywhere,especiallyif you'realready way throughto the you find if Modesi' "Theory the "nJ, of with a modeor two.you can alwaysreferbackto the firstchapter, yourselfgettingconfused' Dig in and havefun!

I

-Tom Kolb

Aleout

the

Recoreling

CD'Trackswitha full on the accompanying verymusicalexamplein thisbookis demonstrated halfspeed'Forthe at again rhythmsectionare playedtwice-once at normalspeedand then the featuredguitaris mixedhardright.Thisallowsyouto.playalong examples, normal-speed the balanceto the left'withjustthe rhythmsection' eitherwiththe entiremix,or, by adjusting applyingwhatyou'velust alam trackloreachmode,so you can practice Don'tforget-there,s you canworkon soloingall overthe neckwiththe variousfinger setting. learnedin an improvisational in the text,and applythe concepts presented withihe musicalexamples experiment patternsprovided, in the "oddsand Ends"sectionat the end of eachchapter' oresented UseTrackQ of the CD to tuneyourguitar'

The

Theor1/

What

Are

of

the

lUloeles

Modes?

Modesaresimplyscales,or moreprecisely, "scaleswithinscales." Theyarecreatedby shifting the tonalcenterawayfromthe root-or tonic--ofa scale,to anothernoteof thatsamescale,thereby creatinga newtonality.Forexample,whenyouplaythe C majorscalefromits root(C)to its octave,it hasthefamiliar "do-re-mi..." majorscalesounddueto theorderof intervals, or intervallic lormula: whole-whole-half-whole-whole-whole-half . W = whole step H = half step

C majorscale(rool to root)

*

Now,if you play the C majorscale again but start on the secondnote (D) and play up to its octave,you are playinga "mode"of the C majorscale.Youshouldnoticethat it doesn'tsoundlikeC majorat all, eventhoughyou'replayingthe same notes.This is becauseyou've"shifted"the order ol the intervalsby startingon the secondnote. Now the intervallicJormulais: whole-half-whole-wholewhole-half-whole.Thus, a "scalewithina scalel' C majorscale(D to D)

ww

Thisprocesscan be appliedto the othernotesoJthe C maiorscaleas well.Andsincethe C majorscalehassevennotes(C-D-E-F-G-A-B),it containssevenmooes.

First mode(C Ionian)

Secondmode(D Dorian)

(8) 2 \,/ I

1234567 UU\"/

3

4

5

61

C majorscal€(two octaves)

Fourthmode(F Lydian)

\,/tJ!vz

Fifth mode(c Mixolydian)

!L!!/!L_r\z!

(E) I

!vu!u!/!

Sixth mode(A Aeolian)

tJ!/trrJvr-iLJ

Third mode(E

\,/!LJ!VLJ!

Seventhmode(B Locrian)

vz!!!/!!!

lUarnes

The

of

the

lUlodes

You'llwant The unusualnamesof the majorscalemodesare derivedfromthe Greeklanguage. them-and theirorder-as quicklyas possible: to memorize "eye-own-ee-un") 1. lonian(modalnamefor the majorscale,pronounced "door-ee-un") 2. Dorian(pronounced "fridge-ee-un") 3. Phrygian(pronounced "lid-ee-un") 4. Lydian(pronounced "mix-oh-lid-ee-un") 5. Mixolydian(pronounced "ay-oh-lee-un") 6. Aeolian(modalnamefor the naturalminorscale,pronounced "low-kree-un") 7. Locrian(pronounced Eventhoughtheymaycontainvarioussharpsor flats,allmaiorscalessharethe sameintervalthe sevenmodesof eachis exactlythe sameas the processfor constructing lic formula.Therefore, in the key of C. So,for example,if you wereto playan E majorscale(E-Ff-GI-A-B-C'-D|) illustrated if you startingfromthe seconddegree(Ff),you wouldbe playingFf Dorian(secondmode).Likewise, (fifth playing mode). Mixolydian B wereto starton the fifthdegree(B) of E major,you wouldbe scalecontainswithinit sevenmodes(seethe "OtherModes"chapter seven-note, NOTE:Anydiatonic, thischapterwillfocuson the modesof the majorscale-by Butfor purposesof clarity, for examples). far,the mostcommon.

The

Parent

Scale

thisbookis parentscale.Simplyput,thisrefersto the A termthatwillbe usedthroughout C majoris the parentscaleof D Dorian.C major majorscalethata modeis derivedfrom.Forexample, of knowing and so on.The importance F Lydian,G Mixolydian, is alsothe parentscaleof E Phrygian, hereis For now, your this book. you way through work as clear parent mode will become scaleof a the parent mode: of any you scale processthatwillhelp to namethe fill-in-the-blanks a three-step,

Example

To findthe parentscaleof A LYdian: Step1) Lydianis the fourthmode. Step2) A is the fourthscalestepof E major. Step3) E majoris the parentscaleof A Lydian.

spendsometimedrillingyourselfto findthe parentscalesto all of the Usingthisprocess, modes,in as manykeysas possible.Here'Sa blankformto helpyou get started. To findthe parentscaleof - -: mode. is the Step1) _ scalestepof Step2) -is the Step3) _ majoris the parentscaleof

major.

how willdetermine of majorscalesand theirkeysignatures to say,yourknowledge Needless of the (NOTE:Themusicnotationin thisbookusesthe keysignature rapidlyyouwillfindthe answers. parentscaleto represent eachmode.)

lUlodes

Houv

Are

llseel

Nowthatyou knowwhatmodesare and wheretheycomefrom,the questionis,"Howarethey pointof view,the answeris threefold: used?"Froma "bigpicture" in majorand minorkeys. 1. As melodicdevicesfor soloingoverdiatonicchordprogressions 2. As melodicdevicesfor soloingover"modal"progressions. "altered" scales. 3. As a sourcefor creatinq 1. Modesand Diatoni"erogr""lion" to havea it'snecessary how modesare usedin diatonicchordprogressions, To understand "Aeolian" (refer minorscale for a discussion on harmony to the chapter knowledge of major scale basic (stacked triad in thirds)to builda diatonic The notesof the C majorscalecan be harmonized harmony). or seventhchordfromeachscaledeqree: Sel'enth chords Cn-ra7

DrniT

EmiT

FmaT

Gi

AmiT

lnraT

IlrniT

IIInriT IVmaT

V]

V I m i T V I I n r i T bi

IV

IIImi

Bmi7b5

harthe harmonicpalettefor the keyof C major-the rangeof possible Thesechordsconstitute Eachchordhas a quality(major,minor,etc.)and a function moniesyou'llfind in a diatonicprogression. (1,ll, lll, lV etc.)determined withinthe scale.Althoughthe triadsomitthe seventh by its position remainthe same.Thisresultsin a chordorderformula andfunctions degree,the basicchordqualities makesit possible the aboveRomannumeralformula(s) thatappliesto all majorkeys-and memorizing to analyzeany majorkey progression. voicingsof the seventhchordsfromabove.Playthemin order Hereare some"guitar-friendly" you hearthe underlying soundof the majorscale. neck, and should up and downthe

Fn-ra7

CmaT

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t3t2

r3r2

l -lt.t

BmiTb-5

AmiT

G] X,^

X

t0fi

l3l,+

X.,^

X

l2 fi

t3t2

X

X

l4fr

CmaT X

X

| 321

modefor each chordfor eachscalestep,thereis a corresponding Justas thereis a designated the ear wantsto "hear" overthe ll chord(Dmior DmiT)in a C majorprogression, chord.Forexample, it'sthe diatonicchoice(Dmi7is the ll chordin C, and D mode-D Dorian-because the corresponding if theV chord(G7)comesalong,the fifthmode(G Dorianis the secondmodeof C).Likewise, Mixolydian) is the "prope/'choice. C Ionian

D Dorian

E Phrygian

F Lydian

G Mixolydian

A Aeolian

B Locrian

h

$s

IrnaT

IVmaT

VImiT

VIIrniTb5

For a quick and easy,hands-ondemonstrationof how this conceptworks (withouthavingto learna boatloadof patterns),havea friendplaythe chords,or listento the accompanying CD,while you playthe followingmusicalexercise:

o

CmaT

G Mixolydian - 1

EPhrygian---I F Lydian

G Mixolydian - l

BLocrian---r

C Ionian

E Phrygian - - I

Stayingstrictlyto one patternof the C majorscale,this popular"groups-ol-four'' sequencenailsthe firstfourscaledegreesof eachmodein the firstfourmeasures,whilethe lastfour measuresinvolve the top halfof eachmodeplayedin a descending fashion.Everynoteof eachmodeis accountedfor in this streamlined exercise.Playthe exampleagainand listento how eachset of notesoutlinesthe harmony.But keepin mindthat this exerciseis mainlyfor demonstration purposes.In reality,this "modal"approachworksbestwhena chordlastslongenough(oneor moremeasures) for a melodyto be fullydeveloped. Incidentally, some referto this methodas treatingeachchangelikea temporary"l" ("one")chord. 2. Modes and Modal Progressions We'veseen howthe majorscalecan be harmonized to createchordsbuiltfromeachscale degree.The same processcan be appliedto the modesto create"modalharmony."And when the chordsfroma specificmodeare usedto createa chordprogression, it is calleda "modalprogressionJ' (Thiswill be discussedin greaterdetailin eachof the followingchapters.) As an example,if you were to harmonizeD Dorianin seventhchords,the order of chordswould be DmiT-Emi7-Fma7-G7-Ami7Bmi7b5-Cma7. EmiT

FmaT

G1

AmiT

Bmr7b5

vrln/t)

CmaT

t v[ma/

Yes,thesechordsall belongto the keyof C major-the parentscaleoI D Dorian-buthere, (reflected DmiTis thetonic,or I chord,so eachchordnowservesa different function bv theRoman numeral analysis).

Now,if you wereto builda progression aroundthe DmiTchord(l chord)usingsomeor all of the otherchordsin thisharmonized mode,youwouldbe creatinga modalprogression-in thiscase,a D Dorianprogression. In otherwords,D Dorianis the keycenter,and the D Dorianmodeis the ideal choicefor improvising.

(IV7)

DmiT (lmi7)

EmiT (IImi7)

D Drrriart

3. Modes as "Altered" Scales Theoretically, thereare specificmodesthat the ear "wants"or "expects" to hearin a diatonic progression. Butsometimes the elementof surpriseis desiredwhileimprovising, and it oftensurfaces in the formof dissonance, or tension. The superimposing of modesandthe mixing-and-matching of parallelmodes(differentmodessharingthe sameroot)can be handyimprovisational toolsfor achievingthistypeof effect.Forinstance, A Phrygianmightbe usedwhereA Aeolianis the morelikelycandidate;F Lydiancouldtakethe placeof F lonian;G Mixolydian and G Dorianmightbe juggledbackand forthovera G7 chord{ora delightfully bluesyoutcome; etc.The listis endless,butthe resultsare all (Allof theseconceptswillbe discussed the same-dissonance, tension,alteration. in depthin later chapters.) This styleof playingis particularly effectivewhena chordlastsfor two or moremeasures, allowing the playertimeto developmorecomplexities in the melody. In orderfor thismodalstyleof playingto work,you needto followsometypeof system,or the resultswillbe chaotic. Whatmanyplayers do is groupthe modesintospecificcategories. Hereis a simplesystemthatplacesall of the modes intotwo basiccategories: MajorModes lonian Lydian Mixolydian

M i n o rM o d e s Dorian Phrygian Aeolian Locrian

The modesin the left-hand columnall containa major3rd degreeand can be usedovermajor-type The modeson the righthavea minor3rd and are for minorchords.Of course,thisis oversimchords. plification-thereare manymorefactorsinvolved. But this givesthe playera "groundzero,"tairlyconsonantstartingpointfromwhichto launchextended, altered,and evenhighlydissonant melodies. Remember this:Oncevou knowthe ruleswell,thenvou'llbe ableto breakthemwithauthoritv.

Ionian -QUICKREFERENCE GUIDE Formula: 1-2-34-5-6-7 Construction: W-W-H-W-W.W-H Category: Maior Differentiating scale degree: 7 Forchordtypes: major,ma6,ma6/9,ma7,mag,ma13,ma13add4 Harmony: lmaT-llmi7-lllmiT-lVma7-V7-VImi7*Vllmi7b5 Commonprogressions: l-lV-V; llmi-V-l; I-Vlmi-lV-V; l-ll lmi-lV-l ; l-lv-l ; l-V-l Five patterns: C lonian (circlednotes are the roots;notes in parenlheses are the 7th degrees) Pattem2

Pattem 3

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a(aJaaa tll(l)t

|

?l tr2Jt rlr ar

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t{a}

Ail___.iLl9 lt(r)t I

Pattem4

Pattern5

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ro8r' ttata

t_tl?l_u tltttt

t t i , t t it{lt

|ta(a) tt(a)rttt

I aa(a)aaa

frTT6-+

Thelonianmodeoutlinesthe basicsttuctureof a majorseventhchord:root,3rd, Sth, gth, 11th,and 1sth. and 7th;and theseertensions: .NOTE:ThisQuickReferenceGuideappearcbeloweachchaplerheadingof the sevenmodes.Fomula represenlsthe scalesiepsoi the perlainsto the orderof who e- and hall-slepintervals.Categorydeslgnateswhetherthe modeis mode,relaiiveto lhe majorscale.Construction majofor minorin tonality(containing a major3rd or minor3rd scaledegrce).Dilfercntiating scaledegreepoinlsout whichnole sels that mode apartfromothersin its caIegory.For chordtypeslislssevera chordtypeslor whichthe moders commonlyused.HarmonyI sts lhe chordqualities (in seventhchords)whenthe modeis harmonized. Comnonprogresslons oiiersa shortlist of popularprogressions harmonized{romthe mode.Five patlernsleatures fve suggesledpatternsof the mode(usirigthe lMusicians Insttutenumberingsystem)as ihey lie in orderalong the fretboard.

The

"Funelarnental"

llllajor

luloele

lonianis the modalnamefor the majorscale.Not only is it the fundamental mode,it is the fundamentalscalein music,and the scaleby whichall othersare compared. The melodiesand harmonies of the lonianmodeare ubiquitous and thoroughlyingrainedon our musicalpsyche,havingbeena part of our livessinceinfancywhenwe firstheardthem in nurseryrhymes.But for all of its familiarity, for somestrangereasonthe lonianmodeis oftendifficultfor guitariststo use in soloing.The "awkward" half-stepintervalsbetweenthe 3rd and 4th degrees,and the 7th and the root,are oftenat the heartof the problem.That'swhy manyplayersrelyheavilyon the majorpentatonic scaleto soloovermajor chordsand keys.lt omitsthosehaltstepintervalsby leavingout the 4th and the 7th degreesol the scale(keyof C: C-D-E-G-A). Nevertheless, whilethe majorpentatonlc scaledoeshaveplentyto offer, pullof the 7th degree,two it doesn'tincludethe suspendedsoundof the 4th and the "leading-tone" essentialcomDonents of the lonianmode.

Ionian Licks Firre-Patterrr

anel the Systern

The followingfivefiguresare all one-barC lonianlicks.Designedto get you acquainted with lvll's"five-patternsystem,"they also featurean array of half-stepmoves-7th to the root,3rd to the 4th scaledegrees,and viceversa.

Fig. 1 is a simplemelodicstatementin C lonianpattern1. (NOTE:Pattern1, of any scale,is basedaroundthe open-position C chordvoicing.And just as an open-position chordcan be transposed pattern "movable" it to barre-chord form, the is to any key.) by transforming also Startingon the root, it dropsto the 7th degree,risesto the sth and resolvesto the "melodic"major3rd.Althoughit omitsthe 2nd and 6th degreesof the mode,it is distinctively lonianby naturedue to the emphasison the 3rd and inclusionof the 7th and 4th degrees.Memorizeth;s lick,and playit in otheroctaveson different oositionsof the neck.Thentransooseit to otherkevs.

I

Fig. 1 100 C

C lonian (patteml)

pedal-point Fig.2 is a classically influenced, figurein C lonianpattern2. (Pattern2 is based formof an open-position on the barre-chord A chordvoicing.)Not only is the root(C) the pedalpoint, thus providingthe undeniable it is clearlythe "pitchaxis"uponwhichthe entiremelodyrevolves, lonianf lavor.

Qo',' )=u c

Half-stepbendsare the catalystsfor gettingat the juicynotesin the bluesyC lonianlickin formof an open-position G chord Fig.3. Usingthe upperhalfof pattern3 (basedon the barre-chord voicing),the bend/release movesdemonstrate how to rub someof the "sweetness" out of the "too-pretty" effectthe 7th and 4th degreesof loniancan sometimescreate.

fl

v

Ftg.3 ). =62 N,C.

formof an The orchestralC lonianlickin Fig.4 climbspattern4 (basedon the barre-chord E chordvoicing)in a "switchback" and pull-offs. Noticethat open-position sequenceof hammer-ons eachresolvinghammeror pull resultsin a chordtone of Cma13.

Pns+ Cma13

C Ionian(pattern4)

The speedyC lonianlickin Fig.5 scootsdownthe upperregionsof pattern5 (an extended patternlooselybasedon the barre-chord formof an open-position D chord three-notes-per-string voicing),whereit then leapsback-and{orth overa few wide intervalsand resolvesto the rooton the sixthstrino.

o

llsing

Fio

5

lonian

'J,'J,

-n l(ey

Genter

Playing

We'veseenhowthe lonianmodecan be usedoversolitarymajorchords,and how the 7th and "sound"of the mode.Now let'stake a lookat how 4th scaledegreeshelpto bringout the distinctive thosenotescomeintoplayin a major-keychordprogression. in the key of E major,makingit an excellent Fig.6 is a l-V-Vlmi-l-lllmi-lV triadprogression vehiclefor the E lonianmode.The transcribed solotakesa simpleyet etlectiveapproachtowardthe E majorpentatonic framework,it holdsoff use of the mode.Strippingthingsdownto a "guitar-friendiy" includingthe omittednotes(4thand 7th) untilthe arrivalof certainchords.The 7th (Dfi)makesits first appearance on the V chord(B) and thenagainon the lllmi (G#mi)change.The 4th degreeis thrown intothe mix at the lastsecondon the A (lV) chord.Noticethat all of thesenotechoicesare slrongcomponentnotesof the chordsbeingplayedat the time.

! =88 I E

ta

tatttaataaaaaaf

Fig. 7 usesthe sameapproachovera bluesyll-V-l in F major.The lineexploitsthe F major pentatonic scalefor the mostpart but hitsthe 7th degree(E) of F lonianon the downbeatof the V chord(C7),nailingthe change.

o,!:,,, N,C.

tet nng -

The aboveexamplesillustratethe potentialof Ihe differentiatingnote of lonian (the 7th lies The secretto usingit successfully degree-or leadingtone)and its impactwhen usedstrategically. in knowingwhichchordscontainthat notein theirbasicmakeup.Uponanalysis,you'llfind thatthe lllmi,V, and Vll" chordsall containthe 7th, or leadingtone.You'dbe hardpressedto find manyVll"or but therecertainlyis an abundanceof V and lllmi chords.So VllmiTlschordsin majorprogressions, whenyou comeacrossthem,don'tforgetto deploythe "secretweapon"-the7th degreeof lonian.And of the 4th deoreeeither:use it overllmi and lV chordsdon'toverlookthe resourcefulness

lonian

Illlore

Phrases

fromthe C lonianmode The legatolickin Fig. 8 pairstwo arpeggios(C and EmiT)harmonized for a decidedlvCmagoutcome.

0 raaa/tt

( C m a j o tr i a d

- - - ) ( E m i 7a r y e g g i o

---------)

(c majortriad)

rFmiri,.l---

^ ^A at

--)

The EricJohnson-inspiredD lonianpedaltonelickin Fig. I featuressomefancystringskippingmovesand a coupleof cool half-stepslides.

9,i:,;

suchasTom rockmasters of melodic oJthe"fiery'loniansensibilities Fig.10 otfersan example patterns (Journey). 2 of G lonian, thephrase (Boston) from 1 and Constructed andNealSchon Scholz jumblesa multitude notesareallstrategically rhythms. Noticethoughthatthesusiained of inleresting placed,alwayson a strongchordtoneof eachnewchange.

9T," N.C.

a

(Ddels anel Ends Here'sa listof additionaltipsfor creatingyourown C lonianlicks.Whenyou havethem oown, transposethemto otherkeys.Be awarethal whenapplyingthem,you needto establishthe rootof lonianas the oitchaxis. 1. PlayC and G majorpentatoniclicks.Combined,they representeverynoteof C lonian (NOTE:C loniancan also be viewedas A and E minorpentatonicscalescombined). 2. Combinethe l, lV and V majortriads(C, F,and G). 3. Borrowlicksfromthe relativemjnorscale(A minor),maintaining "C" as the pitchaxis. 4. Playa CmaTarpeggioand add the 4th (F).

Play-Alomg

Progress-orr

Usethe fivepatlernsof lonian,locatedat thetop of thischapter,to jam overthisC lonianprogression. Youcanuseanyof thetipsin the"OddsandEnds"seclionas theyareall in C lonian. Also,try to applysomeof thelicksin thischapter, changing the rhythms andtransposing themwherenecessary.

0

J =roo c

Dorian QUICKREFERENCE GUIDE Formula: 1-2-b3-4-54-b7 Construction: W-H-W-W-W-H-W Category: Minor Differentiating scaledegree: 6 For chordtypes: minor,mi6,mi6/9,mi7,mig, mi13 Harmony: Imi7-l Imi7-bIIIma7-lV7-Vmi7-Vlmi7bs*rYllmaT Commonprogressions: lmi-tV;lmi-llmi;lmi-Llll-lV;lmi-Vmi-lv-lmi;lmi-llmi+lll-llmi Five patterns: A Dorian (circlednotes are the roots;notes in parentheses are the 61hdegrees) Pattem 3 !!FFE

rTfn

(a)l ao) t(t)

{-fff-l

ti(t)ttl

Ol-l-t-I9

Panem4

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Pattem5

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ffi tlitlt

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titlaa

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The Dorian mode outlines the basic structure ol a minor seventh chord: root,b3rd, Sth. and bTth;and highlights these ertensions: gth, 1lth, and 1sth.

The

"l(ineler,

Gentler"

IUIinor

lUloele

Dorianis the secondmodeof the majorscale.(A Dorianis constructed by startingfromthe secondnole of the G majorscale:A-B-C-D-E-F#-G.) lt is a mmormode-that is to say,it is more closelyrelatedto the naturalminorscale(or Aeolian,its modalname)than it is to the majorscale.ll you comparethe two (Aeolian:1-2-b3-4-5-b6-b7;Dorian:1-2-b34-5-6-b7), you'llfindthat the only diflerenceis that Dorianhas a raised-or "natural"-6thdegree.The natural6th givesDoriana "lighte/' or "softed'sound thanthe dramatic,often"heavy"soundingAeolianmode.The Dorianmodecan be heardextensively in jazz,blues,and rockmusic,and is featuredprominently tn the blues-rock solosof guitaristssuchas Jimi Hendrix,CarlosSantana,StevieRayVaughan,JimmyPage,and RobbyKrieger. To get the soundof Dorianin yourears,go throughthe five patternsof A Dorianjust as you wouldwith any scale-runningthem up and down,playingsequences, etc.Someor all of the patterns mayfeel"familiaf'toyourfingersas beingpatternsof G major.Thisof coursemakessense,as G is lhe parentscaleof A Dorian,but be awarethat the tonic-or rootnote-in theseoatternsis A. Maxea habitof startingand stoppingon the root untilyou havethe Doriansoundin your head.Paystrictattentionto wherethe 6th degree(Ff) is locatedin eachof the patterns,as it is the differentiating noteof Dorian-the notethat distinguishes it f romthe otherminormodes.

Dorian

Licks

Nowthat you havethe A Dorianpatternsunderyourfingers,it'stimeto createsome licks.A greatplaceto startis by givingpattern4 a bit of a facelift.lf you removethe 2nd (B) and 6th (Fi) degreesof the pattern,you'llfindthatthe A minorpentatonic scaleliesbeneathit. A minor pentatonic

Reversingthis processrevealsthat the Dorianmode can be consideredthe minor pentatonic scalewithan added2nd (9th)and 6th.Indeed,manyfine ptayers(especially in rockand blues)tendto use it this way.This systemallowsyou to use all of your 'tried-and-true"mintr-pentatonic phraseswhile only havingto "shift"yourthinkingprocessa little-by locatingand including gth the missing and 6th degrees.Fig. 1 offersan exampleof this process,stayingwithinthe confines ol A Dorian,pattern4 . {G} Fig.1_ -,_ v )=rr2()).).1\ Ami

A Dorianrickin pattern2. Noticethatit beginswithan Amigarpeggro . - - -Fis' 2 is an easy-going (A-B-o-E-G).Thisis a goodstringot notes(1-2-bg-s-b7)to use(in anyorderor sequence) to sug_ gestthe Dorian"color." The restof the lickcompletes the Dorianstatement as ir highligi.lts the 6th degree(Ff).

l,l'1,,' Ami9

A Dorian(patem 2)

TheA Dorianrickin Fig.3 superimposes a pairof arpeggios (Ffmi7b5 andcmaT)to herpnavF . gatethe sometimes difficult terrainof pattern1.Themethodbehindthismadness is thatihe Fhi7b5 (Ff-A-c-E) is theharmony of thevt chordin A Dorian,andthecmaT(O-E-G-B)is the!lll. string themtogether,andeverynotein A Dorianis represented.

9:n' A Dodan (pattem 1) ( F $ m i 7 ba5r p-

-)

(CmaTarp__,__-)

The haltstepbendsin Fig.4 helpto bringout the bluesyqualityof C Dorian.

9,:::,i N.C.

Cmi6

APP|-cations

Dorian

that the Dorianmodeworkswell overminorchordtypesin a soliThe abovelicksdemonstrate can be a danoverminorchordsthat are part of a progression tary situation.But to use it haphazardly of Dorianin chordprogresthe application for determining geiousbusiness.Hereare someguidelines srons. The ll Chord in Maior ,The Theory of the Modes,"each step of the majorscale can be representedby As discussedin chordand a mode.This meansthat for everydiatonicchordin a majorkey,thereis a a harmonized modethatwill providethe "salest"notechoices.Therefore,musicallyspeaking,Dorian corresponding (e.g',G Dorian w1h the ll chordin major-keychordprogressions (secondmod6)goeshand-in-hand provides a musical Fig.5 overa Gmi chordin F major;E Dorianoveran Emigchordin D major,etc.). The key is c maior-cma7 is the I chord,and DmiTis the llmi.A simplechord-tonestatement example. providesthe melodyunderthe CmaTchord,whilethe DmiTmeasurehostsa classicD Dorianphrase' to see if you can "heai'the chordchanges. playthe melodyunaccompanied As an experiment,

@"*' a = ro4 Cma? a^a'aa^A^^^'r +3J

c h o r d t o n-e s CmaT

------1 itflaa

aaiaaa'ra$t

The lV Chord in Minor there'sa modal Just as thereis a designatedmodefor eachchordin a major-keyprogression, (Referto "MinorScaleHarmony"in the Aeolianchapter') choicefor eachchordin a minorprogression. Dorianbelongsto the lvmi chord(e.g.,A Dorianoveran AmiTchordin an E In minorkey progressions, C Dorianovera Cmi chordin the key of G minor,etc.).Fig.6 shedslighton this minorprogiessio-n; scaleis in B minor.In the firstmeasure,the B minorpentatonic rulewith i typicallmi-lVmiprogression (Emi) usedto outlinethe I chord(Bmi),givingwayto a strongE Dorianphrasethat nailsthe lV chord in the secondmeasure.

O"*'u B minor pentatonic ll

- - - - - - - - - - -l

Dorian Progressions In the "realworld"of music,thereare manyprogressions that fall outsidethe realmot majorand minorscale harmony.That is to say,they neither'?evolve,, aroundthe I chord of a major scale nor the I chord of naturalminor.Modalprogressionsfall into this alternativecategoryof key centers. In simpleterms,a modalprogressionis a set of relatedchangei that revolvearoundthe I chord of a specificmode.(Referto "Modesand Modal progressions,, in the iTheory" chapter.)These chords all haveto belongto the same mode,and they usuallyinclude(in additionto the lj eitherthe ll, lV,or Vl' or all three.Someof the mostcommonmodalprogressions are Dorianprogressions, and of these, the_mosl commoncontainsonlytwo chords:the lmi and the lV.Fig. 7 is a clasiic exampleof rhistype of Dorianprogression,teamedwith the Dorianmode, in the style of one of its greatestbenefacrors, CarlosSantana-

@,,,, -

)=rto Gmi

C

Gmi

The"key"is G Dorian,andthe notesusedareclearlyderivedfromthe G Dorianmode.This bringsto lightan important point:when manyplayers tendto usea 'keycente/'approach-developing soloingovermodalprogressions, melodiesfromthe modeits;[ as opposedio'tryingto tryrngto outlinethechordtonesof eachchange. Fig.8 is a jazzyA Dorianprogression (lmi-llmi-tlll)featuring another approach to ,'keycenrer playing" overa modalprogression, thistimeusingtheA Dorianmode.

o

Fig. 8 -3 -

=rndl =) )t

AmiT

BmiT

Cmaj

Whenyoudevelopthe abilityto recognize modalprogressions on the spot,youstartto discover "minimodalprogressions" lurkingwithincommon, run-olthe-mill majorprogressioni. Forinstance, you?elikelyto comeacrossthe lmi-lVma(Gmi-c)progression in Fig.7 seivingas a Il-V movein the keyof F majorsomewhere in yourimprovisational lifetime. Therefore, you'llknowyoucandishoutyour G Dorianlicksoverbothchords. Likewise, thelmi- mi-blll(Amiz-Bmiz-cmaz; mignteventua|y popup in a G majorprogression servinga llmi-lllmi-lVma tunction, yourchancJtosimplify signaling rne changes by deploying theA Dorianmodeoverall of thechords.

(Ddds

anel

Ends

Here'sa listof addltional tips for creatingyourown Dorianlicks.They'reall in A Dorianso you can use themon the Play-Along Progression thatfollows.Whenyou havethem down,transposetnem to otherkeys.Be awarethat whenapplyingthem,you needto establishthe rootof Dorianas the Ditch AXIS.

1. combineAmiTand BmiTarpeggios(together, theyaccountfor everynotein A Dorian). 2. CombineB minorpentatoniclickswithA Dorian. 3. Borrowideas{romthe parentscaleof G major(harmonized thirdand/orsixthdyads, open-string licks,etc.). 4. Borrowideasfromthe relativeminorof the parentscale(E minor).

Play-Along

progressiorr

Usethe livepatternsof Dorian,locatedat the top oi thischapter,to jam overthisA Dorian progression. Youcanuseanyof thetipsin the"oddsandEnds,, sectionas thevareall in A Dorian. Also,tryto applysomeof the licksin thischapter, changing the rhythms andtransposing themwnere necessarv

q = 120 AmiT

Phryg-an QUICKREFERENCE GUIDE Formula: 1-b2_bg-44_b6_b7 Construction: H_W-W_W_H_W_W Category: Minor Differentiatingscale degree: ,2 Forchordtypes: mi(tg),mi7(t9),mi(f9,16) Harmony: lmiT_tll ma7_blll7_lVmi7_Vmi7b5_LVl ma7_!VlImi7 Commonprogressions: tmi+ ; lmi-blll_b; lmi_bVltmi; lmi_!ll_bVllmi Five patterns: B Phrygian

(circlednotesarethe roots;notesin parentheses arethe ,2nddegrees) Pattem2

FFFFI''I ?lal-i..u ?rt)t taa

lmoTt

Pattern3

Pattem4

#F:t' !!tr?J

,ffiB'o i.oi

,| | | "t qiii.rlO

Lt-t-!t!u

..rr, o.I Tr ,-I

pattem 5

pattem I

1-ffiffisr' FFm'|2ii 56-.1*i

aanfT-l

.fT:l re

ffia |_]_a-t_l-

ti||?{

Phrygian outlines the basicstructure of a minor seventh chotd: root,bard, sth,and bTth;and highlightstheseextensions:rgth,l1th, andrlOth.

The

"Exotic"

lUlilror

lUloele

Phrygian(1-b2-b34-5-b6-b7) , likeDorian,is also categorized as a minormodebecauseof its b3rddegree,but the two modesare milesapartin theiroverallronality. The ,,heavy,,t6th degreeof Phrygianbringsit closerin qualityto the Aeolianmode,but the starfling,,,exotic,,sound of iis b2nd degreesets it quiteapartfrom bothDorianand Aeolian.while phrygiancan oftenbe found in the aoventurous progressions of jazzlfusion,it also makesits homein the rockworld.Featuredprominenly in the "MiddleEastern"jams of vintagepsychedelic bandslikeJeffersonAirplaneand euicksilver MessengerService,Phrygianis alsoa mainstayin the musicof mainstream metalbandssuchas Metallicaand Megadeth,and is oftenthe launchingpointfor the riffageof modernmetal bandstike Kornand the Deftones. when isolated,Phrygian's tonarityrs unusuarto say the reast,but it can be preasingry . merodic when usedin its diatoniccontext-overthe Irmi chordin a majorprogression (Fig.1).

' 9:: G

D7

G majorpentatonic- - l iry'!

B Phrygian (paftem4) ---

---

- - r C chordrones- l

D m a j o rp e n t a l o n i-c - - - I

,-l

Whilethemelodyrelieson majorpentatonics forthe l, lV andV chords(G,C, andD7),the Phrygian modeis usedto outlinethebasicchordtonesof the BmiT alter1s-o-rt-nj anoitsdiatonic ations(b9,b13or b6).Theresultis a "no-surprises" phrase, melodrc andalthough pleasing, thedramatic properties of themodearesuppressed. ButwhenPhrygian is featured in a on6-chord v#p. a modal progression, or superimposed overcertainchords,itsimpactis undeniable.

Srr;eer-rnposing

Phrygian

Diciionarydelinitionol superimpose is,"to put,stack,or layon something else."The Webster's as,layinga scaleon topof a chordwhere superimposing of a scaleor modeis perhaps bestexplained "linesup"withthe lllmi thatPhrygian it doesn'tbelong. Forexample, in Fig.1 we witnessed supposedly goes major by unnoticed. Butsuperimpose Phrygian overa stand-alone chordso wellthatit almost Forexample, thecadenza lickin Fig.2 superimposes E chord,andthe resultis quitedifferent. tlavor. Phrygian overan E chord,resulting in a "flamenco" or Spanish

@,,,, J = t3s

E Phrygian (pattem 4)

(Fig.3)beginswithan A naturalminor(A Thisnextexample of superimposing Phrygian mode.Thisrepresents a mixing,or juggling, of Aeolian) sequence whichseguesintotheA Phrygian parallelmodes(different modesthatsharethe sameroot),a veryusefulandhighlyeffectivedevicefor progressions. soloingoverone-chord ll

Fig.3 J = rzo Ami

APhrygian (pattem 4) - - - - - - - - - - - - - - - r

In minorprogressions, Phrygian findsitsdiatonic homeon theVmichord(referto "MinorScale overtheV7 chord Harmony" in theAeolian chapter), butit canalsobeveryuselulwhensuperimposed Thell-V-|, C majorprogression in Fig.4 offersan example of thisprocess. in a majorprogression.

Fis. 4 a = 8 4 QJ = J ) ' ) Dmi9

D Dorianon the llmi chord(Dmig)and C lonianon the | (C6/9)supplythe consonantnote choicesfor thosemelodicstatements. On the V chord(G+7)however,dissonance or tensionis added withthe application ol the G Phrygianmode,highlighting boththe tg and +9(Aband Bb),and the b13 (Eb)---{rb6-of the chordBe awarethat when usedthis way,the Phrygianmodedoesnot supplythe 3rd of the V chord, but whentollowedup witha strongresolvingphraseon the I chord,it can functionvery wellas an alteredscale.

Phrygian

Progressions

ancl

Riffs

In the genresof fusionand heavymetal,the harmonized chordsfromthe Phrygianmodeare oftenusedas a backdropto supportadventurous soloingexplorations. In heavymetal,theseprogressions generallyemploypowerchordsand tend to be riff-oriented,whereasfusiontakes advantageof the richerqualityof seventhand extendedchords.The progression in Fig, 5 useschordsharmonized fromthe A Phrygianmode:lmi (Ami7),bll (Bbma9), and bVllmi(Gmi13)All the extensions are diatonic to the mode,makingthe progression ripefor an A Phrygianblow{est.

o

) = lt2 AmiT

lAmitriad) (Bbmajorriad-----l

rlJDma/arp---t

Gmi13

(F major pentatonic)

(Bb triad-- -)

(Ami triad)

All of the notechoicesin Fig.5 are derivedfromthe A Phrygianmode.Measure1 Jeatures a rhythmicdisplacement of a melodicmoti{.The secondmeasureexploitsthe triadsand arpeggiosbased off of the root(Amitriad),b2nd(Bbtriadand BbmaTarpeggio),and ,6th (Fma7arpeggio)degreesof the mode.In measure3, the majorpentatonic parentscale(F major)providesa nice formof A Phrygian's breakin the action,and measure4 slipsback-and-forth betweenthe tmi (Ami)and tll (Bb)triads.

and of a Riff-oriented versionof an A Phrygianprogression. a heavy-metal Fig,6 represents powerchordsof the root,b2nd,sth, ,6th,and bTthdegreesof sinisterqu;lity,it employsthe harmonized the scale:A5, Br5, E(r5),F5, and G5.

9=;" A5

Bb5 E(bs)

A5

B'5

A5

it displaysthe riff derivedfrom E Phrygian.Ardentand foreboding, Fig.7 is a modern-metal extremelyheavyprospectsof the Phrygianmode. \! -J

Fig I =ec F5

N.C.(85)

(Ddds

anel

NC(E5)

Ends

tips for creatingyourown Phrygianlicks.They'reall in B Phrygianso Here'sa listof additional that follows.Whenyou havethem down,transpose Progression you can use them on the Play-Along lhe rootof Phrygianas ihem to otherkeys.Be awarethat when applyingthem,you needto establrsh the pitchaxis. 1. play parallelminorpentatoniclicksand add the b2and ,6 (i.e.,B minorpentatonic, addingCandGnotes). and resolveto the rootof Phrygian 2. Playthe VmiTt'sarpeggio(Filmi7t's) parent (G scale majoo' 3. Borrowideasf romthe 4. Borrowideasfromthe relativeminorof the parentscale(E minor)'

Play-Along

Progress-on

locatedat the top of thischapter,to iam overthisB Phrygian use thefivepatternsol Phrygian, progression. Youcanuseanyof thetipsin the"OddsandEnds"sectionas theyareall in B Phrygian. themwhere the$ythmsandtransposing changing nso, try to applysomeof thelicksin thischapter, necessary.

,4. v ) =rrz BmiT

CmaT

BmiT

AmiT

BmiT

Cma?

Amil3

Lydian QUICKREFERENCE GUIDE Formula: 1-2-3-*4-5-S-7 Construction: W-W-W-H-W-W-H Category: Major Dilferentiating scaledegree: {4 Forchordtypes: ma({11), ma6(*11), ma6/9(*1 1),ma7(*11}, ma13(*11) -ll7 -lltmiT -{ |Vmi715-Vma7-Vt Harmony: lmaT mi7-VlImi7 Commonprogressions: l*ll; l-ll-Vllmi; l-Vllmi; l-lllmi-Vllmi Fivepatterns: D Lydian (circlednotesare the roots;notesin parentheses are the f4th degrees) Paffem I

.a..atlrf

T rel ,ffi r\!t i i .. rir--T-

Pattem 2

'.,aao ia,rn

Fot--Fl r--'! r-t-'' o o,e.io :

Pattern3

r rTOTf ;tr

tfiTT_t ._t -ft IOT-:]F i,.i? i l

pattem 4

lTt,f(tr+gr'r

dlTiib F;i;fi iifr, .-T,T-r i-f

pattern 5

OTT

-f

Trt,hn -t6it r

lr'ri

-i,f,-

fTfSl

fi-l-l-liil

The Lydian mode outlines the basic structure of a major seventh chord: root, 3rd, Sth, and 7th;and highlightsthese extensions:?th, ll lth, and 13th.

The

"XDrearny"

lUlaior

lUlo.le

Of all the modes,Lydian(1-2-3-f4-5-6-7) is the closestin structureto that of the majorscale, or lonianmode.Bothmodescontainthe same majorpentatonic framework(1-2-3-s-6) and sharea major7th-or leadingtone-scale degree.The onlythingthat sets Lydianapartfrom lonianis its raised,or sharped,4th degree,but this one differenceis significant. The fi4createsa seriesof three wholestepsfromthe rootwhichin turn establishes a senseof mystery. whereaslonianis consonantand familiar,Lydianhas a "dreamy"and anticipatory nature. Indeed,sometimesit'sdilficultto establishthe tonalcenterwhen Lydianis employed-almostlikethere are two tonicnotessimultaneously in play.Olten usedas the musicalbackdropfor the wide-eyedwonder of childhoodin movies,Lydianis also a favoritechoiceamongsinger/songwriters like Fleetwood Mac'sstevieNjcks("Dreams," "sara")and Joni lvlitchell, who use it to paintatmospheric settingsfor theirlyrics.And in the handsof masterguitaristslikeJoe Satrianiand SteveVai,the Lvdianmodecan bringtearsto a listener's eyes.

Lyelian

Appl-cations

Lydianis the fourthmodeof the majorscale,makingit the naturalchoicefor the lV chordin a majorprogression. Whenappliedoverthe lV chord,its effectcan be subtle,but if the {4 of the mooers featuredprominently, it addsa *11 qualityto the chord.To someplayers,this extensionis a litfletoo unsettling or active,so theyavoidit. But othersenjoyits "emotionevoking"capabilities and use it often. The l-lV A majorprogression in Fig. 1 puts D Lydianin its diatonicsettingoverthe lV chord(Dsus2). but the strategically placedf4 (G*)bringsout a {11 qualityin the chordeventhoughthat extensionis not present.Noticethe yearning,somewhatheartbreaking moodthe lineinstills.

Fig. 1 ) =70 Aadd9

(pattem3 -) (pattem4 ---D L'dian

A major (pattem 5)

----' ----' -----------) a.r

{^ar'.'-r'r!r

bvl the Lydianmodefindsits diatonichomeon the ofienencountered In minorprogressions, to easier ';Minor mode players lind the ScaleHarmony"in the Aeolianchapter.)Many chord.(Referto (played ,,minolJ' the {4 of Lydian becauseinfiajor progressions P-erhaps surroundings. apptyin these di1key cenler-a notoriously the of degree 7th to the overthe lV chord)is enharmonicfthesamenote) is enharbvl (over chord) the the {+ of Lydian ficultnoteto use in soloing.But in minorprogressions, makingit sounda littlemore"familiai'tothe ear' key cenler, of the 2nd degree monicto the muchused Fig.2 offersan exampleoveran F* minorrockprogression'

@u*'

) =96 ts{mr

F { A e o l i a n- - - ll4

F$mi ar^ aaaa A^faa

D L y d i a n- - - - - - - - - - - - - - - - - aaa,a|taaaA+r^

'a

fromthe F{ naturalminorscale(Fl Aeolian), Thelinesoverthe lmichord(Ffmi)areconstructed is featured andD Lydianis appliedoverthe tvl iOi. frloticethatthe G{ (2nddegreeof the keycenter) to thenote'resulting thelistener oi t'netmichord.This"familiarizes" in thesecondmeasure prominently measures. following in the D Lydian asthe 14ol in a lessstarlingeffectwhenit functions lt'sfor this reasonmany it hasa chanceto "breathe." when really sparkles mode LydLn The madefor the exploitaexpressly chordsfromLydianto writeprogressions playersusethe harmonized Fig'3 chapter') in the"Theory' iionot t" modeitself.(Referto "ModesandModalProgressions" pedal, every inviting A bass-note an placesthe | (A),l17(87),andlllmi(c{mi)chordsof A Lydianover (87) it conas chord ll chordhereis therecurring notefromthemodeto be usedat will.Theimportant guitar-rock styleof likethisin theinstrumental You'llfindprogressions tainsthe+4(D{)ol A Lydian. playerssuchas Joe SatrianiandSteveVai.

@'','

) = rrz B"7IA

C{mi/A

Someplayers areso attuned to the Lydianmodetheyuseit as an alternative to lonian. The progression in Fig.4 is a commonl-lV in C major. Thediatonic sourcefor melodies is C lonianon the I chord(Cma7)and F Lydianon the lV (Fma7),buthereLydianis usedoutof context---{r superimposed-over theI chord.Interestingly, thistendsto placemoreemphasis on the"diatonic" F Lvdianlines.

9ooo J =so N.C.

CmaT

C Lydian- - - - - - - - - - - r

F Lydian - - - - - - - - - - - - - 1 C Lydian - - - - - - - - - i

IN

Totheunaccustomed ear,lineslikethisaretoo"outside" thekeycenter. Likefinewine,oneneedsto develop an acquired tasteforsomeapplications of theLydianmode.

Borroraring

Frorn

the

Parent

Scale

Relatinga modeto its parentscaleand "borrowing" fingeringpatterns,licks,arpeggios,and practice even chordstrom that scale, is common among experiencedmodal players.Sincethe Lydian modeis so similarin construction and application to the majorscale(lonian),it oftenreceivesthe "parent scale"treatment.For instance,when playingD Lydian,someguitaristsuse licksthey havedeveF pattern5 oi the A majorscale(parentscaleof D Lydian). opedfromthe three-notes-per-string The phrases "starting" and "ending"notesof their sometimesneedslightadjustment, but the processputs theirfingersin familiarterritoryon the Jretboard. The followingthree examplesare "parentscale concepts."They'reall in D Lydian,to get you primedJorthe Lydianplay-along progression on the CD.

The D Lydianlickin Fig.5 scattersthe notesof an AmaTarpeggio-lhetonicchordof the para pairof F{ 'target'notes.Thoughnotpartot an AmaTarpeggio,F{ is the entscaleof A ma.ior-around focuson thechord. 3rdof theDmaTchordandhelpsto keepthemelodic

9'* ' J =to

DmaT a/ta^,a,i'iliarl'ti,i!

scaleexampledrawson the conceptof playingminorpentatonics The Fig.6 D Lydian/parent (see"Oddsand Ends"in the lonianchapter).Again,in this situathe maior scale otf the 3rd degreeol snuggledin the licktionA majoris the parentscale,and C[ is the 3rd degreeof A major.Comfortably double-stop stylingsof of the pentatonic ladenCl minorpentatonicscale,this exampleis representative major (1/2 the root of a pattern step below pentatonic in this way minor scale Using the Hendrix. Jimi (2-3-il4-6-7), while omitLydian notes live choice "automatic" moves that outline chord)affordssome ting onlythe rootand sth.

@u*.u ) =6s Dmal3

4) ----------r e n t a t o nt ipca l t e m Cflminop

the | (A),lV (D),andV (E)majortriads D Lydianlickthatsuperimposes Fig.7 is a fusion-style fromthe parentscaleof A major.Playedovera basicD chord,the A triadrellectsa Dmagquality,the D 2nd,*4th, thecolorful nailsthechordtones,whilethe E driveshomethe D Lydianionalityas it contains and6th degreesof the mode.

9::,1, Dadd9({I l) 3

N.C.

3 (Atriad)--r

>

(Etriad)--i

(A fiad)

r

(E triad)

(Ddds anel Ends Here'sa listof additional tipsfor creatingyourown Lydianlicks.They?eall in D Lydianso you can use themon the Play-Along Progression thatfollows.Whenyou havethem down,transposethem to otherkeys.Be awarethat whenapplyingthem,you needto establishthe rootof Lydianas the pitch axis. 1. Add a G* ([4) to a DmaTarpeggio. 2. PlayD majorpentatonics and add a cil (*a). 3. Movearoundthe neckusingpatternsof A major(theparentscale). 4. Movearoundthe neckusingpatternsof F{ minor(relativeminorof parentscale). 5. PlayB DorianLicks(secondmodeol parentscale)and accentuate the 6th degree(G*, whichis the f,4of D Lydian). 6. CombineF{mi7and GfmiTbsarpeggios. (Vl and Vll chordsof parentscale,they highlightthe 3rd and f4th degreesof Lydian.)

Play-Along

Progression

Usethe fivepatternsof Lydian,locatedat the top of thischapter,to jam overthis D Lydian progression. Youcanuseanyof thetips in the"Oddsand Ends"sectionas theyareall in D Lydian. Also,try to applysomeof the licksin thischapter,changingthe rhythmsandtransposing themwhere necessarv.

IUlir