Tag Archives: lydian dominant

My secret arpeggio and 3 places I use it!

Sometimes it is great to look beyond the diatonic arpeggios for some rich or more colorful sounding arpeggios.

This video is about one of these arpeggios that I really use a lot for melodic minor, altered or Lydian dominant sounds.

Finding the arpeggios

Usually we find arpeggios by stacking 3rds in a scale, but in some cases we can get some really great sounds by building chords in other ways.

The arpeggio I want to talk about in this lesson is the dom7th(#5) arpeggio. The A7(#5) is shown here below:

Where does the dom7th(#5) chord belong?

There are a few places where you can construct this arpeggio.

It is of course found in the whole tone scale, and a can be constructed in both harmonic major and minor.

In this lesson I will focus on it in the context of melodic minor. Purely because that is where I use it the most.

The dom7th(#5) can be found in two places in the melodic minor scale.

If we take the A7(#5) as an example then it can be found on the 5th degree of D melodic minor:

And also on the 7th degree of Bb melodic minor:

Using the arpeggio

If we look at the A7(#5): A C# F G  then it is worth noticing that it is in fact an A augmented triad and an A.

The fac that the augmented triad is a part of the arpeggio is probably one of the reasons why it is so useful for a lot of different chords in melodic minor. The augmented triad sound is a big part of the melodic minor sound. Just think of an DmMaj7 where the upper part of the chord is an augmented triad.

The Altered dominant

When using the arpeggio on an altered dominant we have two options.

The altered dominant in this case is a Db7alt. The two dom7(#5) arpeggios we have available are then A7(#5) and C#7(#5) (or Db)

In this example I am using the A7(#5). If we relate the A7 arpeggio to a Db root we get: A(b13) C#(root) F(3rd) G(b5). So there is a lot of color in the arpeggio.

The Abm7 line is a descending Bmaj7 sweep arpeggio followed by a small turn with a leading note on before the root.

On the Db7alt the line is really just the A7(#5) arpeggio adding a B to resolve to the 3rd of Gbmaj7 in bar 3.

Tonic minor

In the second example I am using the line on a tonic minor chord. The A7(#5) related to D would be: A(5), C#(Maj7), F(3rd), G(11).

The first bar is really just a simple Dm line with a leading note under the root. The 2nd bar is coming from the A7(#5) arpeggio that finally resolves to the 9th(E) of Dm6 (or DmMAj7)

Lydian Dominant

The Lydian dominant example is using a IV IVm progression in F major. In this case it is in fact II bVII I that is being used, but the main idea is of course subdominant, subdominant minor to tonic.

The line on the Gm7 is first encircling the root of the chord and then ascending a Gm7 arpeggio with an added A. 

The Eb7 bar is first the A7(#5) arpeggio followed by Bb and C to resolve to the 3rd(A) of Fmaj7. The ending is tagget with a small pentatonic turn.

Make you own lines with these arpeggios

The examples I went over here are of course only a glimpse at a quite vast amount of options available with this arpeggio.

The best way to get this arpeggio in to your playing is to use it in different situations in songs that you already know so that you can explore the sound of the arpeggio. 

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My secret arpeggio and 3 places i use it!

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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Lydian Dominant Licks – The Best Modern Arpeggios and Structures

In the Lydian dominant sound you can access a lot of cool sounds and you can put it to use in modal situations, blues, tritone subs and IV minor chords. This video will give you some new ideas and non diatonic arpeggio structures to add to your Lydian dominant ideas. I will use 3 Lydian Dominant Guitar Licks to demonstrate how great the arpeggios work in the context of this sound!

You can use the Lydian Dominant Scale as refreshing and surprising sounds besides the fact that you need for some of the chord progressions you will keep running into in jazz standards and originals.

The Scale and the chord

All the examples in this lesson are using an A7(#11) as the Lydian dominant. The Lydian dominant scale that goes with this chord is the 4th degree of the E melodic minor scale as shown here below:

The first Lydian dominant example – The Gmaj7(b5)

The first example is using two non diatonic arpeggios and a triad pair.

The diatonic arpeggios in E melodic minor are EmMaj7, F#m7, Gmaj7(#5) A7, B7, C#m7b5 and D#m7(b5). Basically the arpeggios you get by stacking 3rds in the scale.

But besides those you can also construct other chords in the scale. One of those is the Gmaj7(b5) which is what I use as the first 4 notes of this example. From there it continues with another non diatonic arpeggio: the A7(b5). After this I continue with a very common triad pair with A and B major triads. This is a very common triad pair to use for melodic minor. The triads are played in 2nd inversion.

Crazy arpeggio ideas – Drop2 and diatonic sus4 arpeggios

The first arpeggio in the second example is using a Drop2 version of the A7(b5) arpeggio. The line continues with a Bsus4 triad.

The combination of Bsus4 and A7(b5) voicing works as one large arpeggio structure. If you want to learn more of this approach you can do so here: Crazy Arpeggios

From the Bsus4 arpeggio the melody continues by moving up to the next diatonic sus4 triad: Asus#4.

The last part of the line is coming out of a G augmented triad idea.

Using them as Tritone dominants or as an altered chord

The previous example resolves to a D#, which you can directly interpret as an Eb, the 5th in Abmaj7. It is important to keep in mind that these lines can be used as tritone dominants or altered scale ideas as well.

Sweeping maj7#5 arpeggios and add some Quartal ideas!

A great arpeggio for the Lydian dominant sound is the maj7#5 arpeggio. For an A7(#11) this is a Gmaj7#5, which I am using as the opening statement in the 3rd example. From here the line continues with an F#m7 arpeggio. 

The 2nd bar is combining two Quartal arpeggios. First from G that you might recognize as an A7(13) chord. From here it continues with the one from C#. Together these two spell out an A7(9,13) sound.

The line ends on a D#. This is also an example of a line that would make a great Eb7alt or tritone guitar lick.

Summing it up

I hope you can use these ideas with some non diatonic arpeggios and quartal arpeggio ideas to expand on your own Lydian dominant vocabulary!

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Lydian Dominant licks

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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5 Great Jazz Licks You Need to Know With The Dominant 7thb5 arpeggio

The dom7th(b5) chord is a great sound to use in your solo. Since it isn’t really diatonic to any scale then we often forget to use it as a dominant arpeggio. In this video I am going to demonstrate 5 great ways to use this arpeggio on different chord types.

Here you will learn how it works for several chords and several sounds like the altered scale, the diminished scale and a few more melodic minor sounds!

Lydian Dominant

The Lydian dominant is a dominant with a #11. One way of playing that chord is to play it as a dom7th(b5).

In the first example I am using the arpeggio on a bVII dominant which is one of the very common Lydian dominants. The progression I am using is in the key of C major and it is a IV IVm I type progression.

On the bVII I am using Lydian dominant scale which is F minor melodic over a Bb7 in the key of C.

The scale is shown in example 1: 

The Bb7(b5) arpeggio in this position could be played like this:

The progression in C is Fmaj7, Bb7 to Cmaj7. The line on the Fmaj7 is first a chromatic run from E to G and then a line based on the arpeggio from the 3rd of Fmaj7: Am7. The line continues to the Bb7 where it ascends from Bb to Bb in the arpeggio and via the Ab and F resolves to the 5th(G) of Cmaj7.

Dominant from the diminished scale

The diminished scale also contains the arpeggio. In this example I am using a II V I in C and since the dominant is a G7 we have a G7(b5) available.

Notice that the G7(b5): G B Db F is the same as a Db7(b5): Db F G B

The Diminished scale that fits on the G7 is shown here below:

The G7(b5) (or Db7(b5) arpeggio in this position could be played as shown in example 5:

The line on the Dm7 is in this example starting with a trill on the 3rd and then continues up an Fmaj7 arpeggio. From the E it descends down to the b5 of G7 and continues up the arpeggio to B. From the B it continues with an Ab and an E to spell out a first inversion E major triad. The line then resolves to the 9th(D) of Cmajor.

The dominant sound of a G7 from the diminished scale could be written as a G7(13b9b5). The line spells out this sound with the G7(b5) combined with the E major triad. E major over a G yields E(13), G#(=Ab, b9) and B(3).

Altered Dominant

If we look at G altered. G Ab Bb B Db Eb F G, you can see that it is possible to construct a G7(b5): G B Db F. This means that the G altered dominant is also a great place to put this arpeggio to use.

The G altered (or Ab melodic minor scale) is shown in example 7:

The Arpeggio in this position could be the same as in the previous line, shown in example 5.

The II V I line with the altered dominant is making use of an Fmaj7 shell voicing followed by a chromatic pasing note and an chromatic enclosure resolving on the 3rd(B) of G7.

On the G7 the line is the ascending G7(b5) arpeggio from B to B. This is followed up by a 2nd inversion Eb major triad.The combination of the G7(b5) and the Eb major triad spells out a G7(b5b13#9) in total which is a great combo for an altered dominant. 

Tonic minor

From the previous example we know that the Melodic minor scale contains a dom7th(b5). One place where we can use this is on a tonic minor chord. In this example I am using an F7(b5) arpeggio (as shown in example 9) over a Cm6 chord.

The line starts with a small melody using an augmented triad followed up with a scale fragment. In the second bar the line is a F7(b5) (or B7(b5)) played in a sequence. It resolves to the Maj7(B) of C.

The Lydian Augmented or Lydian #5 sound

Another sound that we can apply the arpeggio to is the Lydian Augmented sound found in melodic minor. In this case I am using it on a Cmaj7(#5).

The scale that fits on this is A melodic minor:

The D7(b5)/G#7(b5) arpeggio that is found in this scale could be played like this:

The way I am using the Lydian Augmented chord in the progression is a as a suspension of the tonic. This means that the progression is a II V I, but the I is suspended by first a Imaj7(#5) and later resolved to Imaj7.

The Dm7 line consistst of an Am7 and an F major triad. On the G7 I am using a strict C major or G mixolydian sound. This yields a melody that spells out a fairly basic G7 sound. This is first resolved to a Cmaj7#5 where the line consists purely of a D7(b5) arpeggio that then resolves to the 5th(G) of Cmaj7. 

 Other places where you can experiment with the dom7th(b5)

The arpeggios that are found in scales but not build by stacking 3rds can be a very useful way to introduce specific sounds. The Dom7th(b5) sound is also great if you have a dominant for an extended period of time. This happens in the beginning of a Blues or the Bridge of a Rhythm Changes.
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You can also download the PDF of my examples here:

5 Great Licks with dom7thb5 arpeggios

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.