I'll Bet You Didn't Know This About Lydian...
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- Опубліковано 3 жов 2022
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bit.ly/LydianPentatonics
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TIMESTAMPS ⏱️
0:22 All guitar players have done this…
1:46 This lesson is NOT for beginners
2:15 Bonus content at bulletproofguitarplayer.com
2:31 Let’s talk about lydian
3:06 Lydian pentatonic approach #1
6:16 Lydian pentatonic approach #2
7:53 Lydian pentatonic approach #3
9:24 Try my tone for FREE! Neural DSP Archetype: Rabea
11:28 What I love about the 3rd approach
12:09 Lydian pentatonic lick
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Do you understand the theory behind modes but still struggle to improvise with them?
Do your attempts at improvisation sound like scale practice over a backing track?
Do you feel as though the large scale patterns you memorised are keeping you in a box, preventing you from being able to turn those scales into music?
Well, you are not alone! All guitar players go through this when it comes to learning and applying the modes of the major scale.
We learn the theory behind the modes and gain an understanding of where they come from and how they are constructed. We understand how and when to apply them over different chord progressions and we’ve even gone to the effort to memorise patterns for each one all across the fretboard in our practice routines.
And yet, whenever you feel inspired to play and throw on that modal backing track, as soon as you start playing, nothing comes out but uninspired, robotic scale runs that don’t sound dissimilar to your unaccompanied scale practice.
It can be a dejecting experience to go through but fortunately there are many solutions to this extremely common problem that guitar players encounter.
These solutions often become apparent when you simply take the time to analyse what triads and larger chords you can build by stacking thirds from each degree of whatever scale it is that you’re trying to make a staple of your improvisational toolbox.
In this free UA-cam lesson, I focus on the dorian mode and the major triad pair that occurs naturally when you stack thirds from the 3rd and 4th scale degrees.
This is a great improvisational nugget that the dorian mode offers us and I guarantee that it will help you in your quest to improvise and write solos that sound musical and tasteful with the dorian mode.
For members of bulletproofguitarplayer.com, I have put together a nice little batch of bonus lessons to give you more practice material for using major triad pairs in your dorian solos.
This bonus content includes:
- 3x bonus lessons demonstrating licks that utilise the major triad pair found within dorian with TAB & notation
- Downloadable Guitar Pro & PDF TAB files for everything
- C Dorian backing track (download & streamable video)
To access this content, along with my Bulletproof Guitar Player courses and all other monthly bonus lessons, you just need to do the following:
1. Create an account at bulletproofguitarplayer.com - bulletproofguitarplayer.com/s...
2. Go to ‘payment methods’ and add your preferred payment method
3. Go to ‘subscriptions’ and choose from a monthly or annual payment plan
4. Click on any course, then a course SECTION and get started watching the video lessons!
🎸 TAB, BACKING TRACK & 3 BONUS LICK LESSONS
bit.ly/LydianPentatonics
Try my tone for FREE 🎸
Neural DSP Archetype trial ➡ ndsp.co/rosscampbell
6 Free Presets ➡ bit.ly/RossArchetypeRabeaPresets
Courses 🎸
Bulletproof Guitar Player Part 1: Master the Fretboard bit.ly/BGPPart1
Bulletproof Guitar Player Part 2: Advanced Concepts bit.ly/BGPPart2
“The dreamiest mode” That Ross fella is so dreamy
Hey! You are a killer player, I've got your Truefire and Jamplay courses!
Don't make me blush Andy Wood
@@andyglamrock cheers dude!
More modal sorcery, great way to approach Lydian! Very few players will be committed enough to learn all positions of the Modes but this essentially gives you a Lydian tonality all over the fretboard with just your Pentatonics - love it!👍👌🤘
I remember Steve Vai using that exact pentatonic approach on I Know You're Here
Nice concept. I guess I interpret it as -
1. In any diatonic scale, there's always 3 major sounding modes - Ionian, Lydian and Mixolydian.
2. In terms of degree, if Ionian is reference (1), then Dorian is (2), Phrygian is (3), Lydian is (4), Mixolydian is (5), Aeolian is (6), Locrian is (7).
3. For E Lydian, Lydian is reference, hence the rearranged order is (4) - (5) - (6) - (7) - (1) - (2) - (3), keeping Ionian as reference.
4. In this case, (4) E - (5) F# - (1) B is the original Lydian, Mixolydian and Ionian respectively.
5. Since they are major sounding in nature, the major pentatonic that starts with them, i.e E Maj penta, F# Maj penta and B Maj penta would sound right over E Lydian as well.
Nice! I've never thought of applying relative pentatonic intervals before. Gives it a unique flavour. Thanks man 👍🏻
Thanks David!
Gem of a lesson. Thanks! 👍
Great lesson Ross. I like the new way of overlaying information on the screen - really helpful and works really well!
Thanks Andy! Glad to hear it's helpful
Love this. Pents come handy if you're not fast enough for a full scale on a not so slow progression 😀
Love these fresh approach to modes sessions !
Thanks Paul! Glad you're enjoying them
Great way to look @ it, thx so much!
All the best from Nürnberg, Bavaria 😘🎸🎶👍
Thanks Nico!
Interesting insight thanks for the reflection on my play
Great way to teach this!
My personal favorite mode. Great tone bruh!
Thanks!
Some licks sounded quite Holdsworth to these ears. You possess some very tasty chops, Sir!
Steve vai scale awesome!
Good stuff Ross.I also find the F#9arpeggio works well played in the order of 1,3,5 b7, 9 and 10( or octave major 3rd)
Great lesson. The step above pentatonic is a new wrinkle for me… I love how it “soars”.
Cheers!
Thanks!
Good video. I actually get modes. It's the application which is tricky to get my head around. This video helped
Thanks Colin!
Given that D# is the relative minor fo F#, it looks like a quick hack for soloing over E Lydiian is to play the D# (Eb) minor pentatonic. I can orient myself quicker with the minor positions than the major. Awesome lesson, thank you.
Yea but the actual key, in this lesson, is E.. the F# was a hack to get the dreamy Lydian notes using 5 note patterns. So your hacking a hack. I think?
I hear a bit of “The Lark ascending” by Vaughan Williams. Although that is more mixolydian.
My gosh, get out of my head bro!!! This was a perfect video!
Thanks Chris 🙏
Think the relative, minor, and work in the Dorian mode and Wala!
B major scale emphasizing the E-notes correct? & Also sounds great when I stop on A#
Bad ass trick there will hava to use it
What is the COLOR of that Strat? Tangerine?
would love to see a video on frank zappa
So would this mean you would play A major over a g Lydian progression?
Good video Ross! hey, when you play this F# major pentatonic over the E lydian, are you actually "thinking in F#" ? meaning are you considering it the "tonic" and focusing your play on F# even though we're in E lydian?
Good question. No, I'm always trying to focus on the root of the lydian mode and relate all intervals to it but it's easier said than done when you first get started with adding in these pentatonic approaches
@@RossCampbellGuitarist cool. thanks. that's why I was asking, cause for me I find it easier to simply play the scale (E lydian) in this case, and highlight the specific notes (4# in this case) rather than focusing on the pentatonics. Does this make sense? I'm not sure myself, but I find it easier this way.
@@shalomshalom735 It does! And I'll do the same. But I find that visualising the major pentatonic patterns as well allows me to come up with phrases I probably wouldn't think about playing if I was only ever thinking about E lydian patterns
@@RossCampbellGuitarist This is really REALLY helpful Ross. It totally makes sense. In fact, one of the problems I always face is when playing "the scale" I soon run out of ideas, can sound repetitive and less creative, so I totally get your point of trying out other scales (like in this case F# major pentatonic) more from a versatility standpoint rather than that "it's better". It' not about it being "better", but it's about expanding our options. DUDE - you just helped me TONS!
It will be super great if you can make similar lessons presenting alternative scales or 'alternative thinking' to other scales as well (for example for Natural Minor but in general for others). Thanks much man!!!
Steve Vai on song Giant balls of gold
Steve Vai's territory, beautiful.
This can be added to all 7 modes
2 more:
Lydian pentatonic 1 2 3 #4 6 (mode of dom pent 1235b7) yields the #4 and 6
And 1 3 #4 5 7 (mode of hirjoshi)
Yields the #4 and 7
What do you mean m8?
@@paullennon8586 Mate? Looks fairly clear to me. Uhhh
Lyd pent 1 2 3 #4 6 (INTERVALS in comparison to the major scale)
That's 5 7 on the e string
4 6 on the a string 4 on the d
In A LYDIAN
1 3 #4 5 6
5 9 on the e string
6 7 on the a string and
6 on the d string
@@CMM5300 shirty
@@paullennon8586 shirty?
What's shirty man? Haha
Here you go just take the hidden lydian chord maj/dim/maj7
1 3 #4 7
And add a color tone
2 or 6 (since the #4 is already used)( 9 11 and 13 are the color tone 2 4 6)
1 2 3 #4 7
1 3 #4 6 7
There's 2 more lydian pentatonics
Do the same thing with maj7
AKA Scott Henderson 😉
handsome broooo ....thank you
Thanks!
Bullet proof guitar 2.0 already out ???..let's kno....
That #f major pent sounds really nice over that e lydian. Nice and spicy with the #4 and 7. I do find just playing e major pent over e lydian a bit boring tho
I still don’t understand modes 😬
Guitar players complicates modes
You need to start at the very beginning of music theory if you want to have any hope of understanding modes. Don't waste your time watching lessons like this for now.
They really aren't as complicated as people make them out to be - most guitar players (my former self included), fail to understand them because they are trying to run before they can walk. So many guitarists try to learn about the modes of the major scale, without first understanding a single thing about the major scale itself.
If I could give you some advice it would be to start your music theory journey by learning about intervals and the construction of the major scale.
I elaborate on my point about the mistakes guitar players make when learning modes here - ua-cam.com/video/uY--Ayxg7KM/v-deo.html
@@RossCampbellGuitarist I understand major and minor scales but wrapping my head around modes is something completely different. I am however about to get started on the bullet proof guitar course 👍🏻
@@HenriquePastana as we do with everything lol
You need to learn the major scale inside and out first in one key all the modes are within the major scale
Sounding like Holdsworth.
Betcha didn't know this.
More waffle than a breakfast buffet
too mucho
Can’t stand that guitar tone. Sounds neutered. Barf 🤮
Scale shapes are pretty much useless
Idk seems kind of a goober.