Transcripts
1. Luscious Lydian: Introduction & Welcome: Hey guys Christopher here and I'm excited
to share with you my latest Skillshare course
related to the Lydian mode. In this course we'll be talking about the Lydian mode to want Octave also as a three-note
per string shape. And we'll be talking
about how it's modal characteristic node being the raised fourth gives
me Maria it's flavor, as well as how that relates
to pentatonics and arpeggios. I'll also be giving you
a selection of Lydian based link so you
can hear the mode in a musical context and then
you can start figuring out some ways to create Lydian
sounds for yourself. If you're excited,
pick up the guitar, and let's play the Lydian mode.
2. Luscious Lydian Part 1 - Finding The Lydian Sound: Super here. Thank you for joining me
for another modal lesson. Today we're gonna be talking
about the Lydian mode. So we're gonna be talking
about the specific characteristics and
things we want to be looking for when
we're listening to and playing the Lydian mode. We're also going
to talk about the diatonic chord structure
and how we can get the most out of backward selection to create a more Lydian sound. We're also going to be
talking about soloing and Lydian using diatonic scales, pentatonics and
arpeggios as well. Okay, so let's go through a brief introduction of what
the Lydian mode actually is. It's the fourth mode
of a major scale. So in this context, we're
gonna be using C Lydian, which is the fourth
mode of G major, which sometimes you might
have heard it being referred to as a parent key of the mode. So what essentially makes a Lydian scale is that
it is a major scale, but it has a raised
or sharp and forth. And that shelf fourth is
the most important note, which is where we're gonna
get the Lydian sound from. That sand is gonna be sort
of a little bit tense, still happy in major, but we're going to get
that kind of dreamy, spacey sound out of it as well. I think one really,
really important way to start getting
your head around those sounds we're
looking for is to hear it in context in music. So if I can give you
some song references, deliverance by o path is a song that I really enjoyed
that has a cool Lydian vibe. Over to 1928 by Dream
Theater is awesome. Who could forget the Simpsons
theme that we'll kinda quirky tense sound
that's also happy. And probably the best Lydian sound I can
think of off the top of my head is flying in
a blue dream by Joseph. Johnny, go listen
to that right now. That's really going to
help you sort of get in touch with those Lydians
sounds we're looking for. Okay, so for the purpose
of today's lesson, we're gonna be
learning everything in the key of C Lydian. You might have heard me
earlier say that it is essentially a major scale
with a raised faults. So what I wanna do is
have a look at C as a basic major or Ionian scale. And then we're going to
add that little tweak to get that Lydian sound. So I'm going to play
through a C major. Let's go through events slowly. I'm going to have 35
on the fifth string, 235 on the fourth, 245 on the third string. So altogether we're
going to have C, D, G. C major is all natural notes. And as I said before, I'm wanted to play C Lydian. What we're gonna do is
we're going to take that major scale, 1234. We're going to find
the fourth note and sharpen that a semitone. So we're now going
to end up with this tray five on
the fifth string, 245, on the fourth, 345 on the third. So we can see
back-to-back how it's exactly the same scale
but with erased forth. And that's what I said before. The Lydian scale is
essentially a major scale with a raised forth
those notes with C, D, E, F sharp, G. Obviously, if we think about the circle of fifths or G-Major, that F sharp or that single
sharp means that we're in the key of G major or
also a minor as well. So if we look at those
back-to-back c major, Good, that's subtle
difference in the race. For another thing to
keep in mind is what makes C Lydian so unique
to all of the major modes, which is C Ionian, c Mixolydian, and obviously C
Lydian is that it's the only one to have
that raised faults. So if I play C
Mixolydian and C major, C, both have that
perfect fourth interval between the root
node and the fourth. Whereas C Lydian has
that race forth. So that's the most
important characteristics. So now that we've got
that to one active, let's delve into some
more complicated and more awesome stuff.
3. Luscious Lydian Part 2 The Lydian Diatonic Chord Structure: Okay, So in this
section of the lesson, we're gonna be talking about how the diatonic chord
structure relates to Lidia. So if we keep in mind that C Lydian is the fourth
mode of its parent key, G major or G Ionian. We can take the chords for G major and we can reorder
them to get a Lydian sound. So what we're gonna
do is we're going to do the G major
chord progression, the diatonic chord progression
rather should I say. But we're gonna be starting
from the fourth chord, which is C. So go through
all the chords one-by-one. And then I'll explain to
you how we can sort of compose chord progressions to get a more leading the sound. Okay, so now we're going to
go through all of the chords in the key of G major
with the diatonic chords, as you might have
heard me say earlier. But we're going to
start from C major, which is a four chord. So we're gonna go
through these codes, also include the
core charts above. First chord is C Major, made up of C, a, and G. Next chord, D, which is actually
a five chord, is made up of D, F sharp, and a, a six chord is
going to be an E minor, which is made up of a, G, and B. Next chord, which will be F
sharp minor seven flat five, which is the seven chord of
G-Major relative to C Lydian, is F sharp, a, C. And what have we got there? And a natural, the G-Major, one chord which is G, B, and D. And then I go to a minor,
which is a two chord, which is made of a, C, and a. And B minor, which
is a three chord, which is made up of B, F sharp, and D. Okay? So what we can do is we can
use all of these chords. If we base it around that
C major is the four chord, we can create a bunch of
different chord progressions. So I want to go through all of those back-to-back one more time with sub-tabs just so that you can say
them altogether. And then you guys can mess
around with some formations as well as the five,
the four chord. Five minus six, minus seven
flat five as the seven chord. G is the one. Minors. The miners, the three chord. Okay, so keeping in mind that G-major is the parent
key of C Lydian, what we're gonna do is we're
going to have a look at some quotes from G-Major
that we just learned. C, which is gonna
be a four chord, D, which is that five chord, and a minor, which
is that six courts. So if I play a chord progression based around those three chords, I should get something
that sounds quite nice. So if I start at my
four chord today, which is my five, E minor as much. My five, resolving to
see my four chord. So it has quite alleviating
the sad when it resolves. So notice that even though G
major, it's the parent key, he doesn't need to
make an appearance in the chord progression to
make it sound leading me. The most important thing is that we're really
riding that four chord. And we can do that
in any other k and any other Lydian contexts. Let's take a Lydian for example. If we think about the
fact that a Lydian is the fourth mode of B major. B major being met parent key. What I'm gonna do is
I'm going to take the majors of four chord. Michelle majors, five chord, and G-sharp minor six chord. We can do exactly
the same thing. Is that five chord,
four chord again. G-sharp minor is S6. Shout mangers, and then
E is F four chord. Again. To understand it wants
to resolve back to that knee to create
that for core sound. So we don't have to
strictly stay with 456 is the only chords you can do obviously
for is important, but we can use other chords to get elite in the sand as well. The most important thing
that you guys can do is experiment through
some composition work. Mess around with a couple
of different styles, a chord progressions
in different keys. Just make sure that when
we're composing with something with the
Lydian e sound that we really ride that forecourt
and make that as centerpiece to get the
most Lydian e sound. And the chord progression.
4. Luscious Lydian Part 3 Lydian Soloing Options: Okay, so when I'm in soloing
in Lydian or any other mode, there were three
things that I really want to know before I even start playing any nuts and
the guitar. What am I? Three notes per string,
diatonic shapes. What am I? Pentatonics. What kind of arpeggios are
available at my disposal. Okay, so let's talk about
assaulting options. Were, were playing in the key
of C Lydian specifically, let's have a look
at a three-note per string diatonic pharmacy. On the sixth string, I'm
going to play 81012. I'm going to play 91012 on
the fifth, fourth string. Then I'm going to play
91112 on the third, then 101213 on the second. And then I'm going to end by
playing 101214 on the first. And that's a C Lydian three notes per string diatonic shape. So the next thing
that we can do is we can play pentatonic. Now when we're playing
in Lydian case, what we need to
do is either find the sixth mode, which is eolian. In the case of C Lydian. I'm gonna be playing in
the E minor pentatonic and other thing you can do is just find the root
of your Lydian Qi and move it up four frets. So Fermat C to E,
that's four frets. If I was inside
the K of a Lydian, and I moved it up for Fred's. Be playing in C-sharp minor. Anyway, let's go through
the a minor pentatonic. I'm going to start that
from the sixth string. Basically minor pentatonic. I'm going to play 1215, 12 to 14 across the
next three strings. 1215 on the second 1215. Now one thing I really like
to do when I'm playing Lydian is used the hero Josh E
scale from a certain degree. Or you can almost think of
it as a Lydian pentatonic. So if we know the C
minor pentatonic, which is made up of C, E-flat, F, G, and B flat. We've taken the first, the third, the
fourth, the fifth, and the seventh from one
of the minor scales, let's say natural minor. So if I take the first, the third, which is seen in a, the fourth, which is an F sharp, the fifth, which is j. Then the seventh note, which is a B from
the C Lydian scale. I get this branch
over here, a Joshua, which is almost like
a Lydian pentatonic, which are 1890 on
the fifth fourth, 911 on the third, 812 on the second and
the first string. Even without backing or context, has quite a Lydian e sounds while I love
that shapes so much. Okay, The last thing I
wanted to have a look at was a C Lydian style arpeggio. Now the easiest way to do this
is to take a basic tribe. We're going to use C major, which is made up of C, a G, a G over two octaves. Or play that again slowly. 15 of the fifth string, 14 of the fourth, the third, 13 of
the second string, and 1215 on the first string. Then the problem is
if I'm only playing 135 of that scale, I'm missing out on
the raised fourth, which is where the Lydian
scale gets its flavor. It's all about getting
that F sharp involved. So if I just play
that triad again, but include the roast
forth, I'm gonna get this. So we're getting more of
that sort of jets and Z a T sound now
from our arpeggio. So I'll go through that
again a bit slower, including that race
for 15 of the fifth, 14 of the fourth, I'm going to slide from
11 to 12 of the third. And then I'm going to play
13 of the second string. And now I'm gonna play
121415 on the first string. So those two F sharps way that arpeggios is
getting all its flavor from. Okay, So keep in mind that we're not just limited
to the C Lydian, three notes per string shape. C Lydian is the fourth
mode of G-Major, so we're allowed to use any
of the modes in the gym. Educate whether it'd be G-Major, a Dorian, Phrygian, yada, yada, yada, they'll all work. If you don't know your three
notes per string shapes, I do have another modal lesson on this that you should
definitely check out. Also, when we're talking about the E minor pentatonic that
we can use in C Lydian. We can also use
all five positions of the E minor pentatonic. And I showed you
that Lydian arpeggio that's saved with erased forth. We can also do any arpeggio
that corresponds with any of the chords in a chord
progression just as long as that corresponds
with the number as well. So just keep that in mind
that we're not limited to those three little
things that they can all branch out into a
couple of different areas.
5. Luscious Lydian Part 4 Lydian Licks To Help You Get Creative: Chapter four, we talked
about soloing options. We had the diatonic pentatonics
and some arpeggios. What I wanna do in this chapter is talking about how
we can turn those into some cool licks and ideas and make them a little
bit more musical. What I'm gonna do is
I'm going to talk about the way that I use these links. I'm going to show you them
slowly with some tab, and I'm going to play them
again with some music so you can hear them in a
musical context as well. The first example, LEC, uses a three-note per string, c Lydian shape, and combines ascending shredding with legato. I've added in a few
triplets to keep the timing sassy and surprising. The second example, LEC, uses the E minor pentatonic
first position box shape, combined with diatonic notes
from the C Lydian scale, this blends a bluesy
and an emotive feeling. And when played over
Lydian chord progression will sound dreamy and spicy. Hi. The third example, LEC, uses
the same age as sharp for eye patch here and works
into a descending slides. The slides will open up different places across
the fret board to encourage you to not
feel trapped and boxed in by the arpeggio shape. The fourth example
is it pedaling lick using C as the pedal note, and also uses notes from
the C Lydian scale to create pedaling tension with an ascending Diatonic melody. The fifth example, LEC uses
the seventh, first, third, fourth, fifth note of the Lydian scale to create
a crawling five-note scale. That is since diagonally
across the fret board, I've also included
a string skip, C major seventh arpeggio
to resolve the leak. The last example, LEC, uses the a here, a jockey scale starting from the C naught to create the
Lydian sanding pentatonic. I've also included a few
five-minute groupings, legato and a cheeky
tap to mix things up. Okay guys, it's time
for a little summation. Everything we learned
today in C Lydian can be moved into
any other Lydian Qi. Also, I just wanted to stress
the importance of jamming over backing tracks or just jamming with friends
Jamie at Lydian. In general, it's so
important for you to hear Lydian coming
out of your hands and coming out of the
guitar when you play to get a much more integral
understanding of what the mode is actually
asking, they'll view. Another way to do
that as well is just give yourself
some rotting homework. Try and write some Lydian riffs. Try and write some Lydian
chord progressions, really coined in
those characteristics we talked about today. Those characteristics
to just hammer at home. Once again, we're looking
for a major sound. Has a bit of a spacey intense and a bit of
a dreamy sound to it. So go away, have
some Lydian fun. If you guys have enjoyed
this lesson and we'll hopefully catch you
guys all very soon.
Chris Zoupa, Guitar Teacher, Composer & Author
