The Best Way To Use Lydian and 5 Musical Ideas

You should have the Lydian Mode or Lydian Scale in your vocabulary. It is a beautiful and great sound that you can work into your guitar playing in a musical way as a great extra color.

When we think of Lydian then it is only about the #4 or #11 and you can't make great melodies with just one note, so in this video, I am going over how to 5 ways you can make some great Lydian melodies and add those to your playing. That way you can really get started working on using The Lydian sound like a great extra color in your guitar solos

The Lydian Mode is often what I hear beginners say that they use because they think it sounds great to say that and actually they are just looking for a scale where they can run up and down the scale without thinking about it.

Content:
0:00 Intro
0:41 How You Should Use Lydian
0:54 A Bit of Context in a Chord Progression
1:38 Where to use it and How Often?
1:50 Example #1
1:54 A Great Pentatonic Solution for Lydian
2:47 Example #1 Slow
2:53 The Difficulty thing about how we think about Lydian
3:23 Example #2
3:28 A Lydian Triad Pair
4:54 Example #2 Slow
5:01 Example #3
5:06 A real Lydian Arpeggio?
6:01 Example #3 Slow
6:06 Example #4
6:10 Shifting Up An Arpeggio a 1/2 step
7:32 Example #4 Slow
7:56 Example #5
8:01 A great Sus4 triad and how to move it around in a melody,
9:36 Example #5 Slow
9:43 Like The Video? Check out my Patreon Page

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Edited by Luciano Poli

Snapchat: jenslarsenjazz

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#lydian #lydianmode #jenslarsen

[JensLarsen]

The Lydian sound is great to throw in there. Do you have a sound you like to add to songs you solo on?
Content:
0:00 Intro
0:41 How You Should Use Lydian
0:54 A Bit of Context in a Chord Progression
1:38 Where to use it and How Often?
1:50 Example #1
1:54 A Great Pentatonic Solution for Lydian
2:47 Example #1 Slow
2:53 The Difficulty thing about how we think about Lydian
3:23 Example #2
3:28 A Lydian Triad Pair
4:54 Example #2 Slow
5:01 Example #3
5:06 A real Lydian Arpeggio?
6:01 Example #3 Slow
6:06 Example #4
6:10 Shifting Up An Arpeggio a 1/2 step
7:32 Example #4 Slow
7:56 Example #5
8:01 A great Sus4 triad and how to move it around in a melody,
9:36 Example #5 Slow
9:43 Like The Video? Check out my Patreon Page

[SharpElevenMusic]

Thank you Jens for your development work. You get our Nobel Prize for World Peace. We need more Lydian.

[willyevans]

Cheers to the best jazz guitar teacher on line today. May you live and play forever.

[AmandaKaymusic]

Avoid vanilla sounds is such great advice. Being brave. Finding the jazz of music is always exploring the edge. That is where I get excited. Resolving the 'out there' notes that feel uncomfortable blending with the resolution of the musical formula is such a treat. Bland jazz without unsquare notes, following an already expected progression in jazz can loose the exploration. Sharp 4 is what I find less predictable. Emphasising that sharp 4 to bring the edge is such a treat to listen to. Thanks Jens,

[downhill]

Whoa! Just went over my head. I'll have to watch this some more! Thanks for sharing.

[damonshanabarger]

Hi Jens: This is Damon again. Although I am a beginner at Jazz, I have composed music using elements of Jazz within these music pieces. Either straight forward or otherwise. There are many complexities within all forms of music. I am far from being a beginner of understanding music. Although I haven't the time to scrutinize this lesson, it does appear to be particularly intriguing and I believe is in this case worth my complete attention. I never said that there was one particular rule in which you would name a chord or note. There are many cases in which you would call something by a different identifying term. POLYTONAL CHORD STRUCTURE, usually used within a passing chord. Case in point: with or without the 3rd is implied Major or minor, (+) Aug or (-) diminished, what key it is in, what inversion, what the other band member playing. In your case it does appear that your stretched across many different keys and are not coming out of one key except for the naming of this or that. I should hope that I didn't make myself look like an idiot. I don't know if you're trying to test me. Like I said, I haven't had the chance to properly scrutinize this lesson. I am most certainly going to get back to you on this one in the future. Acknowledgement of this comment would be acceptable to me for now. Thank you Jens Larsen.

[korkenknopfus]

Very interesting ideas that I didn’t know at all. I found your channel after purchasing Modern Jazz Guitar Concepts and think I’ll keep visiting it. Thank you!

[RobertoDiPaola]

Great video Jens. nice trick of shifting chords made of halfdiminished arpeggios.

[MarsziParszi]

I found it a bit funny that in the first example you talk about the Lydian sound and how it's simple to create using a pentatonic scale but if we take a look at one bar before, the alterations going over that G7 are super and not a word is said :D. Thank you Jens for posting so frequently, it's incredible!

[dkwvt]

Great ideas here as always... You had me at sus 4! 😎. Thank You!

[jameslockhart]

Shifting from the dominant arp over V7 to the VM7 arp over the tonic chord is a nice move. The b7 goes up a semitone to create the #4.

[eternalrainbow-cjiu]

Hi Jens, I like your approach and the way you ontroduce some basic aspects in a away that each time a new thing is there to be learned...in this case abot the 4th degree, I do realise the truth in your approach, still what is happening let us look at it in a different perspective: Dm7 G7- Gmaj7/C resolving to Cmaj7, so we change our Tonic in a subtile way to emancipate the Vth degree in a subtile way...so playing I V7=Tonic so in a way the 7th is not resolving down ward only but aswell upward to the F# the 11th but from a different angle we could as you said recognize Gmaj7 4voiced chord there upon a C pedal.

[plopzoppers]

lydian is so fun to play and it sounds so good. always loved playing it instead of ionian for that #4

[DESIENASHOES]

fantastic sound, remember me the early Pat Metheny - bright size life - album

[shawndimery]

I love example 5 especially, I really need to work on odd groupings for my vocabulary

[eternalrainbow-cjiu]

your sus4 encircling od meter-hemiole is realy supphisticated..I will dopt that, as you maj7 b5 lick!(LOL), it prooves that also a root and a 7 without a 5 sound tremendous neatiful, in such a way performed! Thank you for the nice inspiration! maybe you could the next time also play those things in triplets or even 16ths examples????(without being to fast maybe in a ballad preset-tempo orso?

[sonicsaviouryouwillnotgetm]

Scott Henderson talks about this in his video, but in practice I have difficulties to make it work and I usually sound too off. These lines will definetly help, but I need to practice other stuff first like arpegiating the songs that we play and emphasiszing the changes.
Could you do a video on decending or ascending fiths chord progressions and ideas on how to solo over them? Stuff like D7 - G7 - C7 - F7 -Bb that happens in tons of swing stuff like Five Foot Two and similar.

[kukumuniu]

1:27 - I don't understand, why I don't want emphasise #11 (note b)
if this is a characteristic note for F lydian (together with note e)?

Dm7 G7 Cmaj7#11 - it is not just modal interchange?

[samriehl]

Yens could you do a video on how to make arpegios for each of the diatonic shapes? It seems like each arpeggio has a skeleton, be it major or minor with one extra note that makes it one of the modes. Is this the case?

[eternalrainbow-cjiu]

Hi Jens, i do aprreciate and like your maj7 b5 lick but why not write it as a Gb? Than nobody could say a word? of cors it doesn't matter at all, and you gave us a good explanation why...but maybe this is helpful for you also...