mikedodge

This is from a thread I started at Harmony Central: http://acapella.harmony-central.com/for ... ?t=2161476

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Part 1:

I stumbled on this chord last week warming up for band rehearsal. Turns out it's very similar the opening chord to Mclaughlins Love and Understanding (John just plays an standard Eadd9 open chord though)...anyways, do this...

Finger pick through this chord randomly, not to create a rhythm but more of an atmosphere-ish arpeggiated/chordal drone, very freeform, ala Metheny, Mclaughlin, Corea, Clarke, etc...

E--0--
B--0--
G--8-- = 3rd finger
D--6-- = 1st finger
A--9-- = 4th finger
E--0--

It can also be played fretting the B string on the 7th fret...

E--0--
B--7-- = 2nd finger
G--8-- = 3rd finger
D--6-- = 1st finger
A--9-- = 4th finger
E--0--

Then approach this as E Lydian...BUT, if you're not acclimated to Modal playing yet, here's some tricks to find it the Lydian sound...

1. Most people first start "sounding Modal" by hitting more of the Lydian harmonies when they approach it simply as B Major/Ionian. So, just think of playing your favorite B Major scale licks. This will harmonize with the chord better than Root'ing things from the E perspective and falling into normal ruts. Just simply play the B Major scale, you'll fall on notes you probably wouldn't if you were "thinking" E Lydian. Sounds simple but it works, try it! I've been teaching this stuff for years and this is a great trick, the #1 "trick" if there was one to finding the Lydian sound.

2. Lay on the #11(A#) pretty heavily to draw some rub against the beautiful chordal bed. Almost make that A# your home/root note.

3. Stay away from the E note as much as you can to keep yourself hovering OVER the chord with modal harmony, instead of scales, never finding home.

4. To break away from the stagnant 3nps riffs you fall back on without thinking about it, use these tutorials to give yourself some new perspectives on Lydian application ( ala Vai, Mclaughlin, Metheny, Krantz, etc...):

http://lessons.mikedodge.com/lessons/Ly ... terns1.htm
http://lessons.mikedodge.com/lessons/Ly ... terns2.htm
http://lessons.mikedodge.com/lessons/Ly ... terns3.htm
http://lessons.mikedodge.com/lessons/Ly ... terns4.htm

5. Have fun!

Part 2:

Trying to plant your ear in Modal territory as opposed to your fingers in "scale" territory try these little areas of Lydian magic...experiment by staying in ONLY the one area for awhile...it's hard not to sound a little like Mclaughlin, Metheny, Corea, etc...by doing so. The notes in parenthesis are "rubbing resolution notes" for you to hear the Lydian harmonies as opposed to the Root.

1.
E-------------------------------------
B---5--4----------------------4--5--(4)
G---------6--4----------4--6----------
D---------------6--4--6---------------
A--------------------------------------
E--------------------------------------

2.
E------------------
B-------------------
G---------3--4--3--------(3)
D---2--4-----------4--2-----
A-------------------------
E-------------------------

3.
E------------------------------------
B-----------------------------------
G--------------1--3--1-----------
D--------1--2-----------2--1--------
A--1--2-----------------------2--1
E-----------------------------------

4.
E-----------------------------------------
B--12--11--------------------------------
G----------13--11-----------------------
D-------------------13--11-------------
A----------------------------13--11
E-------------------------------------

5.
E--11--9---------------------------------------
B---------11--9--------------------------------
G----------------11--9-------------------------
D-----------------------11--9-------------------
A------------------------------11--9-------------
E-------------------------------------11--9------





TAKE ALL OF THESE UP AN OCTAVE TOO!!!!!!!!!!!!!!!!!!!!!!!!!!

Once you starting tapping into the modal sound of each, start tying them together to create large areas to jump to or bridge between each other.

Use these small chunks as your "scale" or better yet "good group of notes". Notice how they are mostly "two notes per string", so think of them, or blow through them, like they are NOTHING but Pentatonic riffs.

Here's a grandaddy area to play Lydian out of, pure Steve Vai...NOTHING but a straight Minor Pentatonic pattern...this is how he makes his Lydian, and modal playing in general, sound SO Pentatonic at times...because it IS...just not from the "scale root" like

E------------------
B-------------------------------------12--14
G--------------------------9--11--13
D-------------------9--11--
A--------7--9--11-------------
E--7--9---------------------

and

E--------------------------------------
B--------------------------------------
G--------------------------------4--6----
D--------------2--4--------4--6----------
A--------2--4--------4--6-----------------
E--2--4----------------------------------

And another...

E--9--7------------------------------------
B--------9--7-------------------------------
G--------------11--9---------------------------
D----------------------11--9-----------------
A-----------------------------11--9--7-------
E----------------------------------------9--7

Look, you can move that whole thing up two frets and it's STILL Lydian...

E--11--9-------------------------------------------
B---------11--9----------------------------------
G----------------13--11------------------------
D-------------------------13--11-----------------
A---------------------------------13--11--9--------
E---------------------------------------------11--9

And OMG, you can move up 5 more frets and it's STILL Lydian...

E--16--14-------------------------------------------
B----------16--14----------------------------------
G------------------18--16------------------------
D---------------------------18--16-----------------
A-----------------------------------18--16--14--------
E------------------------------------------------16--14

Notice how the last two leave out the root of E completely!

Follow those links I posted to be fully acclimated to losing your scale patterns and finding what's really inside that "Mode".

Part 3:

I went back and checked out Love and Understanding...

while we might think John some chord alien...the intro chord of that song in nothing but a straight/common open position Eadd9 chord, like so...

E--0--
B--0--
G--1--
D--4--
A--2--
E--0--

This is ironically the SAME chord most of my Lydian tutorials I posted is based on.

L Shankars opening Lydian lines use this similar pattern, on the recording he throws a few of those Mid-East sliding techniques (pretty much what my Indian Sliding Techniques lessons cover...)

E-------------------------------------------
B---9--7-------------------------------------
G---------9--8--4-----------4--9--8--11----
D------------------6--4--6------------------
A---------------------------------------------
E---------------------------------------------

You can throw this all in one position too, but by spreading it out you might break out of some common habits, or your "rut moves".

Here's it is in one position:

E---------------------------------------
B---9--7-----------------------------7--
G---------9--8-----------------8--9---
D---------------9--6-----6--8----------
A---------------------9-----------------
E----------------------------------------

For this song/style, you can simply "think" of playing out of a G# Minor scale, and basing things off a G#m triads, and G#m7 arps.

Listen how cool that G#m7 arp alone sounds over the E chords I've posted!

E---0----------------------------4----
B---0----------------------4--7---------
G---8-------------------4----------------
D---6-------------4--6----------------------
A---9----------6-------------------------------
E---0----4--7------------------------------------

From a common "pattern" stand point, now I've made playing Lydian a little easier for the person who knows only the Major scale and Minor scale patterns. In this case, B Major and G# Minor.

Part 4:

This is a reply from someone using this info and my Indian Sliding Technique lessons, and my reply....

"I just played with this stuff for like an hour. Thanks for the inspiration gen!

That L. Shankar type pattern sounds fantastic. I wish the guitar could get that beautiful of a tone though. :cry:

I really dig those sliding lessons and they give me all kinds of trouble. I've never been comfortable with my slide technique."




No problem.

Those sliding lessons are a bitch mainly because you need to change strings and keep the slide going as much at the same time.

Try the sliding technique on one string only for a while. For this lessons premise just take the Lydian scale on one string and do the slide between each note.

Like so...Notice the first slide is only between two notes, then the rest actually slide one more note further down in the scale. Think of them as four 8th or 16th notes, just as groups of four notes.

For both of these I ONLY use my second finger for the very first note of each group of four EVERYTHING else is the first finger slide through the remaining three notes. Beware, you can burn a serious hole in your finger the first couple of days, I'm mean that sincerely!

E---16p14s16s14--14p12s14s11---12p11s12s9--11p9s11s7--9p7s9s6--7p6s7s4--

You can to the same type of idea going up on one string too:

E---6p4s7s4--7p6s9s7--9p7s11s9--11p9s12s11--12p11s14s12--14p12s16s14

Remember those Lydian with the #4.

Using the technique across one string is more like a sitar or Oud player would handle it. It's amazing to watch those guys bust this stuff up and down one string!

My wife is calling me to hit the hookah...be back in a bit.

Part 5:

Glad you like them! Once you grasp this idea of smaller chunks you can almost find a new scale everyday. Once you do that for a month or so you can unleash the fury! You'll have an endless amount of special/magical sounds to use for your Lydian playing.

Check these out...

When this idea first kicked into high gear for me I recorded this: http://test.mikedodge.com/mvdmusic/Mike ... nished.mp3 it's nothing more than these little chunks of E Lydian to little chunks of A Lydian for the main part, then E Lydian for the improv'ed middle section, then E Lydian, G Lydian, and A Lydian for the ending piece (which I have yet to finish).

Then to prove my idea to myself I learned a little bit of a Vai tune that I could tell was in Lydian, Km-Pee-Du-Wee, as there is ALL was, nothing but these little chunks played alone and then also connected together... http://test.mikedodge.com/mvdmusic/Mike ... Du-Wee.mp3

Once you get them under your fingers and can hear them...you can hear it's almost impossible not to sound like Vai if you want to emulate him that is.

This lesson, and the others I've posted, are pure Modal Application...this basic concept seems to be missing when people learn "modes" for some reason. Enjoy!

Part 6:

Cool, cool.

You can use the end of that first song as a backing track if you want, and it'll tie right in with Part 4 of that Lydian lesson for playing between E, G, and A Lydian. http://lessons.mikedodge.com/lessons/Ly ... terns4.htm about half way down it deals with changing Lydian scales to fit this progression. The end of that first tune is this progression, with no lead over it. Have at it.

Part 7:

The first time I heard this I about shit!!!!

http://www.youtube.com/watch?v=jY8wyKuLY2k

It was a while after I figure this stuff out, this was pure solidification on the concept. He's using so many of the things I found on my own.

I believe he's even playing over...wait for it...Eadd9!!!! Check it and let me know if I'm right.

Part 8:

A message from another viewer, and my reply...

what are some other chords that will work with E Lydian?

Those lessons links I posted will show you a ton about chords for Lydian.

One thing that will help is to move to other chords that force you to change to a different Lydian scale.

The whole idea of "in Lydian" or "the Key of Lydian" (which doesn't exist) makes modes fall flat. Some of the greatest modal tunes force you to change scales when the chord changes. I'm not talking about about C (C Ionian) to Dm (D Dorian), I'm talking like

1. Eadd9 (E Lydian), to Gadd9 (G Lydian), to Aadd9 (A Lydian).
2. Or, Gm (G Dorian) to Bbm (Bb Dorian).
3. Or, Dm (D Dorian) to Ebm (Eb Dorian).

In each of those ideas the modes progress as the chords progress, as opposed to playing the same scale like C Major and calling it D Dorian or G Mixolydian, etc...

Those Lydian lessons I posted starts right out with chords and never stops, and it also shows you how to turn the "mode" patterns into MANY MANY Pentatonic views. Take the evening and work through them, they'll show you a TON about Lydian. You'll see how Eric Johnson gets chords out of them, also special chord IN the Lydian scale...so as you change chords you can use these chords in your progressions of reach new Lydian chord/scale...

Here's the links again...spend some time with them. They have tab, audio, and a lot of cool applications.

http://lessons.mikedodge.com/lessons/Ly ... terns1.htm
http://lessons.mikedodge.com/lessons/Ly ... terns2.htm
http://lessons.mikedodge.com/lessons/Ly ... terns3.htm
http://lessons.mikedodge.com/lessons/Ly ... terns4.htm

Here's an excerpt:

-----------------------------------

So, you can use and E Lydian Scale for an Eadd9 chord, or an Eadd9sus#11. (these chords are found in that Lydian Tutorial at my lesson site).

But, the Lydian Mode contains MANY add9 chords within it:

Eadd9 F#add9 G#add9 Badd9 C#add9

With an E pedal-tone these chords can be used in various ways, here's one:

Code: Select all


      Badd9          C#add9         Eadd9      F#add9        G#add9

E--------------|--------------|---------------|----------------|-----------------|
B--------------|--------------|---------------|----------------|-----------------|
G-----------6--|-----------8--|-----------11--|------------13--|-------------15--|
D--------4-----|--------6-----|--------9------|--------11------|---------13------|
A-----2--------|-----4--------|-----7---------|-----9----------|-----11----------|
E--0-----------|--0-----------|--0------------|--0-------------|--0--------------|


With the droning E note they can also all be named from the E note: Eadd6/9, Emaj7/6, Eadd9, Eadd6/9

When naming them from the E Root it puts all of these chords within the E Lydian scale. These are common characteristic harmonies of Lydian, in this case E Lydian.

Part 9:

Here's more...(really, look through those lessons)

Look how they are right out of some of those little patterns I showed earlier.

-----------------------------------

Here's another view of this as chords. This is very Vai-ish too:

Code: Select all


E----------------------------------------|
B----------------------------------------|
G-----4--6--------8--11----------13--15--|
D--4--2--4--6--9--6--9---11--13--11--13--|
A--2--------4--7---------9---11----------|
E--0--0--0--0--0--0--0---0---0---0---0---|


Part 10:

As far as "the chord" for E Lydian, Eadd9, E Major, Emaj7, Emaj9, Emaj7/#11 will all work for the scale. Eadd9 and Eadd9/#11 are the true blue chord where it works most of the time.

All this is without saying "to playing in E Lydian, just use any chord from the Key of B Major". When you "all the chord of so-and-so Key" it becomes VERY hit and miss becuase 90% of the time your ear is drawn to either the Major of Relative Minor Keys.

So, let's say you come up with a progression "in E Lydian", and you start using chords that are built solely from E Lydian...you have to be VERY careful not to have end up directly relating to nothing but B Major or G# Minor.

The easiest way to progress your "modal playing" is to drop the idea of "in E Lydian" or "out of E Lydian". The applicatio isnot so much "all the chords", modally it's "only the chord you're on".

Try this:

||: Bbm7 | Bbm7 | Bbm7 | Bbm7 | Bmaj7/#11 | Bmaj7/#11 | Bmaj7/#11 | Bmaj7/#11 :|| ALWAYS ALWAYS ALWAYS, make sure you repeat, this is what will tie ANY modal progression together and help you learn HOW to turn it around back to the beginning!!!!!!!

For this progression use an A# Minor scale for Bbm7 (enharmonic names) and use B Lydian for the Bmaj7/#11.

Listen to how the two modes move to and away from each other...notice there is a VERY minimal amount of notes that actually change between those two scale...that note or those notes ARE THE CHANGES...nothing more, ONLY the notes that change between the scales...so nail those difference when changing chords...they are the money notes. Forget the scales and arps try and concentrate on the CHANGES.

Now, some people might say...A#m7 and Bmaj7/#11 are both in the Key of F# Major, so just use F# Major for your scale...these are usually people who have learned Diatonic Theory but still haven't learned Modal Theory and it's concepts.

They ground up way to get into modal playing is NOT to tie in a bunch of Diatonic chords. Because they will only leave you in a Major of Minor Key about 90% of the time.

Try those two scales with that progression, you'll hear it.

Part 11:

I didn't realize I had this Lydian track put together, well its still in the works...but it is very usable...

http://test.mikedodge.com/mvdmusic/mike ... acking.mp3

There's some ideas for it (of course, from Part 4 of my Lydian lessons)...

Ok, here's a chord progression I mess around with that lets me play Modally using multiple Lydian scales:

Code: Select all

||: Eadd9 | Eadd9sus#11 | Eadd9 | Eadd9sus#11 | Gadd9 | Gadd9sus#11 | Gadd9 | Gadd9sus#11 | Aadd9 | Aadd9sus#11  Aadd9 | Aadd9sus#11 | Eadd9 | Eadd9sus#11 :||


Eadd9

E--0--
B--0--
G--1--
D--4--
A--2--
E--0--


Eadd9sus#11

E--0--
B--0--
G--3--
D--4--
A--2--
E--0--


Gadd9

E--0--
B--0--
G--2--
D--0--
A--x--
E--3--

Gadd9sus#11

E--x--
B--2--
G--2--
D--0--
A--x--
E--3--

Aadd9

E--x--
B--2--
G--4--
D--2--
A--0--
E--x--

Aadd9sus#11

E--x--
B--4--
G--4--
D--2--
A--0--
E--x--


Now, let's go back you my little Pentatonic-Lydian lick and use it over each chord to set the mood and scale to chord relationship. The idea is this:

1. play the E Lydian over the E chords
2. play the G Lydian over the G chords
3. play the A Lydian over the A chords

Code: Select all


Eadd9

E--------------------------------------------------------------|
B--------------------------------------------------------------|
G--------------------------13--15--13--------------------------|
D------------------13--14--------------14--13------------------|
A----------13--14------------------------------14--13----------|
E--12--14----------------------------------------------14--12--|


Gadd9

E------------------------------------------------|
B------------------------------------------------|
G---------------------4--6--4--------------------|
D---------------4--5-----------5--4--------------|
A--------4--5------------------------5--4--------|
E--3--5------------------------------------5--3--|


Aadd9

E-----------------------------------------------|
B-----------------------------------------------|
G--------------------6--8--6--------------------|
D--------------6--7-----------7--6--------------|
A--------6--7-----------------------7--6--------|
E--5--7-----------------------------------7--5--|



Here's a little chord thing you can use in A Lydian:

Code: Select all


E----------------------|
B----------------------|
G--4--6--8--9--11--13--|
D--2--4--6--7--9---11--|
A--0--0--0--0--0---0---|
E----------------------|

And remember, you can break this out into single notes too:

E-----------------------------------------------------------|
B-----------------------------------------------------------|
G--------4--------6--------8--------9--------11---------13--|
D-----2--------4--------6--------7--------9---------11------|
A--0--------0--------0--------0--------0---------0----------|
E-----------------------------------------------------------|



Hopefully that sheds some light on a new way to open up the fretboard. This stuff can provide hours, day, months, and years of wasted time ;)

Good luck!

Part 12:

Here's some more Lydian chords/voicings and another Lydian progression...

Emaj7

E--0--
B--0--
G--8--
D--9--
A--7--
E--0--

Eadd9#11 (like a Bmaj7/E)

E--0--
B--0--
G--3--
D--4--
A--2--
E--0--

Both chords are the same fingering, one at the 7th fret and one at the 2nd fret. Here a simple progression...

(just play each chord for two measures)

||: Emaj7 | Emaj7 | Eadd9#11 | Eadd9#11 :|| REMEMBER to repeat

(or play each chord for four measures)

||: Emaj7 | Emaj7 | Emaj7 | Emaj7 | Eadd9#11 | Eadd9#11 | Eadd9#11 | Eadd9#11 :|| REMEMBER to repeat

Endless moment of tranquility there.

Part 13:

And let's not forget that Satch uses Lydian quite a bit too. Here's a chord I've heard him use from time....

Emaj#11 (or Eadd9/#11 if you prefer)

E-(11)-- (normally you wouldn't play this string at all, but it is there if you want)
B--11--
G--11--
D--9--
A--7--
E--0--

You can move this type of form around using the low E string with the fret A, D, and G strings in the pattern, there's four of them in E Lydian...

With an E pedal-tone these chords can be used in various ways, here's one:

Code: Select all


      Badd9          C#add9         Eadd9      F#add9        G#add9

E--------------|--------------|---------------|----------------|-----------------|
B--------------|--------------|---------------|----------------|-----------------|
G-----------6--|-----------8--|-----------11--|------------13--|-------------15--|
D--------4-----|--------6-----|--------9------|--------11------|---------13------|
A-----2--------|-----4--------|-----7---------|-----9----------|-----11----------|
E--0-----------|--0-----------|--0------------|--0-------------|--0--------------|


With the droning E note they can also all be named from the E note: Eadd6/9, Emaj7/6, Eadd9, Eadd6/9

Part 14:

Vai definitely uses that type of add6/9 form in a bunch tunes, here's one moving between Gadd9 and Bbadd9

E-------------------------------------------
B-----------------------------------------
G---------------------------------------
D-----------7-----------7------------10 and REPEAT!
A--------5-----------5------------8--
E--0--3--------0--3--------0--6----