Pentatonic 'Lydian' Superimposition on major 7 chords

The bright, uplifting, ethereal sound of superimposing the Minor pentatonic on the Major 7th chord is a wonder addition to any improvisors toolbox of sounds.

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My name is Nick Homes. I am a non genius musician who struggled for many years to find out the secrets of jazz improvisation. Throughout 40 years of playing, and obsessive investigation I have focussed on building systems of learning for my students so they can improve, and reach their learning goals with the highest probability whilst having fun!

- JAZZDUETS LINKS -

[neilsaunders]

Nick Homes (Jazz Duets) is producing some of the very best instructional material on jazz improvisation available on YouTube. This is real-world stuff that yields immediate results if practised properly.

[williamcompitello]

So, this is why I've been obsessed with Lydian for almost a whole month. I love the sound here! It's really a "true eternal paradise" vibe.

[talkless]

Thank you so much sir, I will be ever grateful to you for your kind contribution towards the musicians like me belonging to a remote village here in India, who really have no access to a good teacher. God bless you man.❤️

[SierraRoute]

Your tutorials are so helpful! Thankyou for putting all the work into producing them.

[JCleggy]

I’m a long time lurker on your channel and this comment is definitely overdue: You have made me a better musician. Thank you!

[reggiebdog]

As a guitar and bassist, I'm seeing things in a fresh way. This series inspires ne to learn to sight read. I get the theory, it would nice to be abke to work the excerises without struggling

[Rwjudy]

Thank you for stating these reminders to enjoy our musical journey.

[TheSoundConnoisseur]

Thank you for these lessons. These are amazing

[PedroAntonio]

A personal addition. We can use the arpeggio of the m7b5 starting on the #11, adding the major 7th, to get a sort of pentatonic with a locrian sound. So for example, if we have Cmaj7, then we can play:

F# - A - B - C - E
#11 - 13 - M7 - T - M3

On the other hand, if we are playing a major 7th chord with the #11 included (i.e. Cmaj7#11), we can use this sort of pentatonic:

E - F# - G# - B - D
M3 - #11 - #5 - M7 - 9

and it would feel like you're playing a blues scale, but raising the first note by a half tone.


Note apart: We could also use the whole tone scale over this chord, with a bit of caution.

[elgabytrastornado]

Thanks!!! I apreciated your videos!! I buyed the pdf excercises pentatonics!! Hugs!!!!

[DilrajGopi]

These super imposition videos are eye openers! Thank you so much!

[GregEleftheriou]

Super interesting concept!
Thank you!

[DaveDevourerOfPineapple]

This and the previous video have opened a lot up for me. Beautiful and exciting stuff.


Are there similar superposition tricks which work over minor 7th chords?

[FantomMC]

Thay e flat maj 7 with D minor, OMG... that was amazing

[laureanoahmad]

Truth to tell. I've never thought this.
Great lesson.
A awesome door to come into a world of new sounds

[mr.f]

beautiful lesson! We need more on superimpositions!

[libertinocopola]

I have now the material, thank you for your knowledge!

[benjaminfeddersen]

I always thought jazz sounded so weird because the chords and shapes were weird. It's hilarious to see how simple the concepts are, it's just how they're put together.

[palomoshow]

Thanks... You are the Best.... I love this channel....

[andyokus]

I have never soloed doing these eigth note techical type runs. I just play from my heart and soul and create shapes. Players are always impressed by my piano playing. I always feel they think I'm better than what I am. Music is all subjective anyhow. If I play some New Orleans blues in China they flip out like I'm an 👽 alien.