Dominate Your Lydian Dominants | You'll Hear It

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Lydian dominance BAM doppio I'm at a menace and I'm Peter Martin and you're

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video right now right now maybe even hit the little pill little bell looks like a little hand you know a little fist so when we go live which we as it were we are live jazz musicians it could happen

at any time that's right today we are dominating our Lydian dominance that's right that well I know about this because we've done this already this episode so this is gonna be take two as we say we did it several weeks ago we

had a little we had a little technical issue I know we I know I wasn't supposed to talk about that but that was fun we did a whole episode and then we lost the medium we almost put it out but we know how much folks have been loving the

beautiful screen below that you will see so we're redoing it man that's how we roll here but it's alright I can talk about Lydian dominance you know at least once a week for several weeks in a row

I'm gonna be doing this once a week for several weeks got oh well let's get into it though so are we staying in the key of D flat cuz that could be fun well I don't know I should actually shift it back and forth yeah let's do D flat I think it's

it's always good to look at things in sort of different ways very awesome yeah okay so the Lydian dominant is a scale based off of the melodic minor sound it is is it okay yeah this could be another

one sort of like the altered scale it's our award-winning altered scale where we have two different ways of looking at it but that might help some people it's the fourth mode of melodic minor so if we have our D flat Lydian Lydian

oh we have our D flat Lydian dominant it's based off of an A flat melodic minor so in ascending a sin with you okay so for D flat Lydian dominant we

have D flat E flat F G natural a flat B flat C flat B flat so it's just like a dominant scale way you could just call me classical you said C

flat oh because it is get your mind around it so here's our regular dumb is right with the G flat yeah that's how I think about this is by the way we're because we're in D flat this is I feel

like we're advanced explaining right now because that's planing we're both mansplaining and advanced blank damn right okay so so that's a regular

dominant scale our Lydian dominant we just sharp that force we have a G natural here as you so eloquently just played now would you normally hear because actually what would come out of

the altered scale discussion in episode I think that was great was the different ways we think about it the different ways that we hear that scale and sound yeah and then different ways that we that that leads to us applying it in an

improvised situation yeah so cool because that's we're not learning these so that we can have a theoretical mastery of it we're not theory professors right um it might seem like we are but but we we really want to try

to help connect you guys with different approaches to applying this to your improv yeah that's right and so like would you normally hear this as more of

a Lydian scale with a dominant seventh or a dominant seventh scale with a raised fourth I think of this as a dominant seven with a sharp 11 yes that's the first way I think about it

good yeah but no well the first way you said was a melodic minor you're starting that's what is that's what it's derived from okay but you'll most often use this

in the case of like again if we're in the key of D flat G flat D flat seven sharp 11 this is the chord symbol you myself

d flat seven sharp 11 yeah and that to me implies a Lydian dominant scale right so the first usage of this is actually

as a Dominus skill I feel like this gets slept on a lot by people for using it as a dominant scale going to a 1 so again B flat 7 sharp 11 to G flat major 6 9 here

it's a great way like it's kind of like your first step into adding some tension yeah to your dominance it's light

tension come pretty light tension it's pretty light but it does have that right which is a nice leading tone towards the

9 of the major it's almost like it's Thanksgiving dinner everyone's sitting down you got all the relatives you got Uncle Bob and Auntie Suzie and everything is just straight no tension and then there's just a little bit which

is like so who are you supporting in the presidential election this year it's a little tension is adding some tension let's see what aunt Cathy has

you haven't fully blurted it out yet but right so uh yeah that's great that's sort of level one is like you're 5-1 you

can use it as sort of your first step into altering a dominant chord like a I like it because it's it's not as like sharp or as heavy as say if we were

using and altered daunt like a like a fully altered you know kind of sound yeah it's it's not that thick it's not

that that dark right it's more playful yeah can I jump ahead to maybe what is not level 2 might be a higher level but I think it's an interesting one sure

would be this is a funny way to think about it but melodically I would use this a lot B major 7 with a raise fifth

and then also up to the 11th I mean to the 9th what yeah okay wait why don't we talk about the jazz arpeggio right which is

one three five seven nine right I mean like over like a c7 it would just be seen G b-flat D but it could be anything

it's just a one two three a five and a seven and a nine it's like that shape because I use that so a lot of times I'll hear things Malati saying is like

an arpeggio device so you're not buying it all right no I am buying it because you know when we talked about yeah ya know when we talked about the

altered scale I use that shape and that applies here as as this is an a flat you know melodic minor could be a g7 alter

it could be a D flat seven sharp eleven yeah that shape it's a very similar thing in arpeggiating the the main chunks of the chord you think of it at like it would is a B arpeggio that's

interesting yeah and it's a it's more like kind of hearing it because the thing with our paginating it like this and then moving up it's kind of the natural where you would move up you know as part of your line and you really win the weeds on this or like I did I know

that's why I'm skipping ahead a couple but you YouTube's a fickle crowd if you don't get to it pretty early they're like BAM but again it's more even more in the weeds because it's like

we're using D flat so you said B arpeggio it's really C flat you know I know but but also I like the arpeggiated concept and especially the Jazz

arpeggiated concept with the 7th and the 9th because that reveals to your ears more than anything try it Paris you know because this was a term I didn't even know what that meant until recently I never really thought about it but I was

always hearing those kind of thing triads being you know some of the most kind of doubt not dominant as an in dominant scale but just dominant sounding elements to how we put together

melodic improvisation we'll get there we get there let's still just go over more of the functions of the Lydian dominant ways you can use in ways that it's mostly so we're gonna do this two steps ahead one step back two steps ahead I like it well let's try that let's try to

go stepwise let's try to do that first hey I'm a little jacked up on my my green smoothie here man so the most common way you'll use that and like I said you don't sleep on using it as an alteration for a 5 chord but the most

common way that that most jazz musicians use Lydian dominance is for something like a 5 of 5 for you know a dominant chord a secondary dominant chord to make

it a little bit more Airy a little bit less of a gravity like a a tonic dominant or a or a dominant dominant yeah so in the in the context of a tune if we take a tune like our love is here

to stay so that first chord right that g7 and the key of F where in the key of F we're gonna get out of P of C flat in the key

of F we have a g7 now this is a perfect opportunity where you can use the Lydian dominant that it's based off of the D melodic

minor but it's that raised forth dominant scale on on G we have some listeners from our it just just you know

that F major raised v me exactly not up Reggio you're talking about yeah exactly yeah that that sound is is really what

what you hear a lot of jazz musicians going for and then from there you can go to the five so it works great as a scale to use over a five oh five a five or five being like in a two five one making

the two instead of Dorian yeah like a dominant and you would use that Lydian dominant more often than you would use just a straight mixolydian yeah and I love that the way that you've explained it on this tomb because the the five of

five or you know the two in this case you know almost you can see how it works better by how this sounds you like if you go to the five that's okay but it

doesn't really yeah even though it leads up to there nicely I don't it just works better here you've got choices on the five you can go you know with some other alterations or

you go kind of sauce and then you know what sounds really good what you'll hear in a lot of like string arrangements or whatever is when you have this Lydian diamond on the two right you have this a arpeggio on the top and then when you go

to the five you do an altered thing yep right so the a arpeggio on top becomes an A flat you know love it so the next

level of using a Linnaean dominate is again on the secondary dominant context but it's really on what we're gonna call a a cycle of dominance think the bridge

to rhythm changes yeah where we have d7 g7 c7 and then f7 oh that's a perfect time to dominate your Lydian dominant so

on the series of dominance you you'll often hear players use all Lydian dominance on this because or a mixture

of using a Lydian dominant for a bar to something more more dominant altered or a half whole scale or something like that but that Lydian dominant because

it's more Airy and loose and sort of up in the air yeah it gives us a sense that we're not that we're not on a tonic that we're somewhere in-between something

right and I love that because it's it as we said the beginning it's just a little bit of tension but because you're building it up and you don't know when it's gonna resolve the the added effect

especially over the rhythm changes perfect example you know it's it's cumulative cumulative right so by the time you get to the last one you have the memory of the one but you've gone on

such a journey because if you're b-flat once you get to the bridge you know the listeners you kind of lose feeling of where the tonic is but when you get here you're kind of like oh yeah there we go

yeah so it's just the right amount of tension of course typically other alterations are added especially once you get to the five but they're not really needed yep you know some good things

[Music] and a lot of good you know pairs that are moving around interesting

melodically as you solo try it paralyzed [Music]

that's kind of an example adding a little more attention only the flat nine so it's not strictly Lydian dominant but just adding the flat nine on the five that's a kind of a cool way to use it -

it's so good cool the last way we'll talk about is on a blues and this is like you know the list over there what are you doing why are you so much more organized than me man because we've already done this

episode oh that's right we've already figured that the Blues is a series of dominant chords and you know typically

will use a mixolydian right but if again if we want to air it out it's almost it's almost humorous but

it's more of an airy like less sophisticated yeah somehow more angular

Lydian dominant underground and again when you get to the two five at the end you know you can use lovely company long knew how to dominate the Lydian dominant

that's right so anytime there's like a dominant chord where it's not a 5:1 this is like prime opportunities for Linnaean dominance yeah and you know talking

about monk oftentimes the way that we can kind of go next level off of the Lydian dominant is you know we think about it being more like to see seven

sharp eleven and then two altered into one but that actually is not quite as effective I think it's like that's a

little bit more of a logical or interesting I mean look you've got a lot of different choices but that's one that like monk would do a lot for sure let's hear it let's hear an example of this would you mind playing two choruses of a

blues play the first chorus with using mostly mixolydian no Linnaean Amin okay and then play the second chorus leaning

more on the Lydian okay

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now boy Lydia domine [Music]

real talk that's a human sound right there it is no it's a fun thing and I think - you know what that kind of highlighted was it it is light and it is

area but when we're doing it on a blues and we're just doing it on a one like all those other examples we had we're really five of five or five to one a true dominant kind of function but when

we're doing it on a blues on a one chord it still brings out a little bit of that bluesy that implication of the blues there and you know in terms of usage we'll play

with that something because it's a way to take it from being like super traditional to to a little bit another sort of level not a higher level just a different place

you know bebop I mean Charlie Parker playing a lot of Lydian um but then you can throw in the blues and that note is common between those it's awesome

so good so that's how you dominate your Lydian dominance enjoy this episode will ever get out another one is just like minutes just lingering there was a matter we were terrible on that inning

really oh hey no it was it was a perfect you'll hear it I was well anyway so we are sponsored by open studio jazz and we actually have a beautiful little message from one of our members check it out hey

this is Rob longtime listener of the podcast and big fan of Adam and Pete I just wanted to tell you all about a little thing that happened to me which tied a bunch of the podcasts together so

Adam and Pete always say you know listening if you're going to play play your horn like touch your instrument 15 minutes a day and and and don't miss too many days so I had today where I was had

missed a couple of days before and wanted to get on the horn and it was just messing around flailing around and I was sitting back to the episode of how

to rock a 15 minute practice and I said okay I'm gonna concentrate for 15 minutes I'm gonna get something done and I was thinking they did a recent podcast on the Phrygian mode I'm like ma the Phrygian mode I hadn't thought about

that so I'm gonna play the Phrygian scale on all 12 keys and I know my major scales and so I so I thought I'd do the

Phrygian and all 12 keys then I thought and cuz I'd had an episode on creative scale practice so I'm gonna do the Dorian scale and all twelve keys I'm going to do it in in third so I'm fancy

so I'm gonna do it alternating up a third down a third up a third because I know my scales so first of all I don't know my Phrygian scale at

all because I had to relate it back in every instance to the major key insight that's not how you should really think about the scale you need to think about it because I don't think about the Dorian scale that way it's not a second

to a second it's the Dorian scale so I got deep into it I'm like okay I don't know the Phrygian scale so then I did my

dorian scales and it's good for a D Dorian G Dorian but do I really know a flat Dorian up-and-down alternating thirds and the answer is no

so that 15 minute practice session turned into a 45 minute practice session super efficient and got it done that's

my story awesome if you want to leave us your open studio story go to you'll hear it calm and leave a speakpipe leave as a voicemail tell us your story that's right I tell us your story yeah until tomorrow you'll

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