Advanced: December 2009 Archives

Harmonic Major Modes - Lydian Diminished - Diatonic Substitutions - Mode 4

By
Vince Lauria
on December 29, 2009 8:32 AM | | Comments (0)
C Harmonic Major starting on F         = F, G, Ab, B, C, D, E, F, G,  Ab,   B,   C   D    E,  F
F Lydian Diminished scale numbers  = 1,  2, b3, #4, 5, 6,  7, 8,  9, b10, #11, 12, 13, 14, 15
Notice that 2/9, #4/#11, 6/13 are the same notes. They are the same thing.
Get use to them being referred to both ways. This one number system applies to all keys!

Now lets take every other note in a group of three, four, five, six, and seven notes.


3 notes = F, Ab, C,                   = F minor                                         (Fm)

4 notes = F, Ab, C, E                = F minor major seventh                   (Fm maj7)

5 notes = F, Ab, C, E, G            = F minor major nine                        (Fm maj9)

6 notes = F, Ab, C, E, G, B        = F minor major ninth add sharp eleventh    (Fm maj9/#11)

7 notes = F, Ab, C, E, G, B, D    = F minor major ninth add sharp eleventh add flat thirteenth  (Fm maj9/#11/13)

 

Other common minor chords created from the Lydian Diminished scale:

Fm6                      = F, Ab, C, D
Fm9                      = F, Ab, C, G
Fm/#11                 = F, Ab, C, B
Fm9/#11               = F, Ab, B, G                (no fifth)
Fm6/9                   = F, Ab, C. D, G           (sometimes played without fifth or C)
Fm6/#11                = F, Ab, C, D, B
Fm6/9/#11            = F, Ab, C, D, G, B

Fm maj7/6             = F, Ab, C, E, D            (sometime written Fm6/maj7)
Fm maj7/#11          = F, Ab, B, E                (no fifth)
Fm maj7/#11/13     = F, Ab, B, E, D            (no fifth)

Also diminished chords:
Fo    = F, Ab, B
Fo7  = F, Ab, B, D
Remember a diminished seventh chord played in minor third intervals is the same chord with four root notes.               So all these are interchangeable: Fo, Abo, Bo, and Do, also Fo7, Abo7, Bo7, Do7. 
(o= diminished)  


Also suspended chords:
F sus 2                               = F, G, C
F sus #4                             = F, C, B
F sus #4/9                          = F, B, C, G
F maj sus 2/7                     = F, G, C, E
(#4 same as #11 get familiar seeing it both ways)

So here is your assignment that you will do with all keys using the Lydian Diminished Mode.
Lydian Diminished chord progression key of C harmonic major:

Original progression  - Fm //// Do //// G //// C ////   (i,vio, II, V)
Now with sub chords  - Fm maj sus 2/7 //// Dm9 no 5th //// G7 //// C/9 ////   
(imaj sus 2/7,vim9 no5th,II7,V/9   

(note /9 is the ninth degree added to the chord or R, 3rd, 5th, 9th, where as C9 is a: R, 3rd, 5th, b7th, b9 the first being from the major chord family and the latter being from the dominant chord family)

You can use any of the 4 note chords to replace the 3 note chords.
You can use any of the F lydian diminished chords in this lesson to sub for the i of the F Lydian Diminished Scale.

I will expand on this in greater detail later but for now go back to all the Lydian Diminished chord progressions previously given (Harmonic Major Modes - Lydian Diminished - Mode 4) and sub the 4 note chords for the 3 note chords and sub the i chord with the new i chords from this lesson.

Also take these chord formulas and a note name chart and start to create these chords in all possible octaves and positions. When creating chords on the guitar the root, fifth or seventh are often omitted because of just having six strings. 
You can use all notes when multi-tracking.


Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music

 

Harmonic Major Modes - Superphrygian - Diatonic Substitutions - Mode 3

By
Vince Lauria
on December 26, 2009 9:05 PM | | Comments (0)
C Harmonic Major starting on E  = E,  F,  G,  Ab, B, C,  D,  E, F,   G,   Ab,   B,   C     D    E
E Superphrygian scale numbers = 1,  b2, b3, b4,  5, b6, b7, 8, b9, b10, b11, 12, b13, b14, 15
Notice that b2/b9, b4/b11, b6/b13 are the same notes. They are the same thing.
Get use to them being referred to both ways. This one number system applies to all keys!


Now lets take every other note in a group of three, four, five, six, and seven notes.


3 notes = E, G, B,                      = E minor                                      (Em)

4 notes = E, G, B, D                  = E minor seventh                          (Em7)

5 notes = E, G, B, D, F              = E minor seventh add flat ninth      (Em7b9)

6 notes = E, G, B, D, F, Ab        = E minor seventh add flat ninth add flat eleventh (Em7b9/b11)

7 notes = E, G, B, D, F, Ab, C   = E minor seventh add flat ninth add flat eleventh add flat thirteenth  (Em7b9/b11/b13)

 

Other common minor chords created from the Superphrygian scale:

Em/b9                              = E, G, B, F
Em/b9/b11                       = E, G, B, F, Ab
Em7/b11                          = E, G, B, D, Ab
Em/b9/b13                       = E, G, B, F, C
Em/b11                            = E, G, B, Ab

Em/b6                              = E, G, B, C
Em/b6/b9                         = E, G, B, C, F
Em/b6/b11                       = E, G, B, C, Ab
Em/b6/b9/b11                  = E, G, B, C, F, Ab

Note* This scale can create minor, major and altered dominant chord types.
Record these last set of chords - five minutes each chord - and then listen to the different tonality that each chord brings out of the Superphrygian scale as it is played against the chords.

E maj                               = E, Ab, B
E7                                    = E, Ab, B, D
E7b9                                 = E, Ab, B, D, F
E7b9#5                              =E, Ab, B, D, C
E7#9                                 = E, Ab, B, D, G
E7#9#5                              = E, Ab, B, D, G, C


So here is your assignment that you will do with all keys using the Superphrygian Mode.
Superphrygian chord progression key of C harmonic major:

Original progression  - Em //// Do //// Fm //// G ////
Now with sub chords  - Emb6 //// Dm7b5/11 //// Fm maj7 //// G7 ////

You can use any of the 4 note chords to replace the 3 note chords.
You can use any of the E minor chords in this lesson to sub for the i of the E Superphrygian Scale.
I will expand on this in greater detail later but for now go back to all the Superphrygian chord progressions previously given (Harmonic Major Scale Modes - Superphrygian - Mode 3) and sub the 4 note chords for the 3 note chords and sub the i chord with the new i chords from this lesson.

Also take these chord formulas and a note name chart and start to create these chords in all possible octaves and positions. When creating chords on the guitar the root, fifth or seventh are often omitted because of just having six strings. 
You can use all notes when multi-tracking.


Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music

Harmonic Major Modes - Dorian b5 - Diatonic Substitutions - Mode 2

By
Vince Lauria
on December 24, 2009 8:33 AM | | Comments (0)
C Harmonic Major starting on D = D,  E,  F,  G,  Ab, B,  C,  D,  E,  F,   G,  Ab,  B,  C      D
D Dorian b5 scale numbers =        1,  2,  b3,  4   b5,  6, b7,  8,  9, b10, 11, b12, 13, b14, 15
Notice that 2/9, 4/11, 6/13 are the same notes. They are the same thing.
Get use to them being referred to both ways. This one number system applies to all keys!
 

Now lets take every other note in a group of three, four, five, six, and seven notes.

3 notes = D, F, Ab,                    = D diminished                               (Do)

4 notes = D, F, Ab, C                 = D minor seventh flat fifth              (Dm7b5)

5 notes = D, F, Ab, C, E            = D minor seventh flat fifth add ninth or (Dm9b5)

6 notes = D, F, Ab, C, E, G        = D minor seventh flat fifth add ninth add eleventh or (Dm11b5)

7 notes = D, F, Ab, C, E, G, B   = D minor seventh flat fifth add ninth add eleventh add thirteenth or (Dm13b5)

 

Other common major chords created from Dorian b5 scale:

Do/9                       = D, F, Ab, E
Do/11                     = D, F, Ab, G
Dm7b5/11               = D, F, Ab, C, G
Dm7b5/13               = D, F, Ab, C, B
Dm9 no 5th              =D, F, C, E
Dm9/13 no 5th        = D, F, C, E, B    (also called Dm 6/9 no 5th) 
Dm7/11 no 5th        = D, F, C, G
Dm7/11/13 no 5th   = D, F, C, G, B        


Do/6                      = D, F, Ab, B
Do6/9                    = D, F, Ab, C, E
Do6/11                  = D, F, Ab, B, G
Do6/9/11               = D, F, Ab, B, E, G

So here is your assignment that you will do with all keys using the Dorian b5 Mode.

Dorian b5 chord progression key of C harmonic major:

 

Original progression     - Do //// G //// C //// Fm //// 

Now with sub chords    - Dm7b5/13 //// G7 //// C+/9 //// Fm7 ////

  

You can use any of the 4 note chords to replace the 3 note chords.

You can use any of the C harmonic major chords in this lesson to sub for the i of the C Dorian b5 Scale.
I will expand on this in greater detail later but for now go back to all the Dorian b5 chord progressions previously given (Harmonic Major Modes - Dorian b5 - Mode 2) and sub the 4 note chords for the 3 note chords and sub the io chord with the new io chords from this lesson.


Also take these chord formulas and a note name chart and start to create these chords in all possible octaves and positions. When creating chords on the guitar the root, fifth or seventh are often omitted because of just having six strings. 
You can use all notes when multi-tracking.


Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music

Harmonic Major Modes - Ionian b6 - Diatonic Substitutions - Mode 1

By
Vince Lauria
on December 21, 2009 9:09 PM | | Comments (0)

Their are some great sounds from this often ignored mode.


C Harmonic Major starting on C =  C,  D,  E,  F,  G,  Ab,  B,  C,  D,   E,   F,   G,   Ab,   B,  C
C Ionian b6 scale numbers =         1,  2,   3,  4    5,  b6,   7,  8,   9,  10,  11, 12,  b13,  14, 15
Notice that 2/9, 4/11, b6/b13 are the same notes. They are the same thing.
Get use to them being referred to both ways. This one number system applies to all keys!
 

Now lets take every other note in a group of three, four, five, six, and seven notes.

3 notes = C, E, G,                    = C major

4 notes = C, E, G, B                = C major seventh 

5 notes = C, E, G, B, D            = C major ninth

6 notes = C, E, G, B, D, F        = C major eleventh

7 notes = C, E, G, B, D, F, Ab  = C major eleventh / flat thirteenth

 

Other common major chords created from Ionian b6 scale:

(Major also written as Maj or triangle)

 

C maj/b6th                          = C, E, G, Ab

C maj add 9th                      = C, E, G, D

C maj b6/9                          = C, E, G, Ab, D

C maj7/b6                           = C, E, G, B, A


C augmented                      = C, E, Ab                   (C+)

C augmented 9                   = C, E, Ab, D               (Cmaj9+)

C augmented 9/11              = C, E, Ab, D, F            (Cmaj9/11+)


C sus                                = C, F, G                      

C sus 2                             = C, D, G

C maj7 sus 2                     = C, D, G, B

C maj7 sus 2/b6                = C, D, Ab, B

C maj7 sus 2/b6/9             = C, D, Ab, B, D

C maj7 sus 2/b6/9/11       = C, D, Ab, B, D, F

 

So here is your assignment that you will do with all keys using the Ionian b6 Mode.

Ionian b6 chord progression key of C harmonic major:

 

Original progression     - C //// Do //// G //// C //// Bo //// Fm //// C //// (I, iio, V, I, viio, iv, I,

Now with sub chords    - Csus2 //// Dm7b5 //// G7 //// Cmaj9 //// Bdim7 //// Fm Maj7 //// C maj/9 //// 

  

You can use any of the 4 note chords to replace the 3 note chords.

You can use any of the C major chords in this lesson to sub for the i of the C Ionian b6 Scale.
I will expand on this in greater detail later but for now go back to all the Ionian b6 chord progressions previously given (Harmonic Major Modes - Ionian b6 - Mode 1) and sub the 4 note chords for the 3 note chords and sub the I chord with the new I chords from this lesson.


Also take these chord formulas and a note name chart and start to create these chords in all possible octaves and positions. When creating chords on the guitar the root, fifth or seventh are often omitted because of just having six strings. 
You can use all notes when multi-tracking.


Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music

Recap of Melodic Minor Scale Modes - Diatonic Substitutions

By
Vince Lauria
on December 20, 2009 9:47 AM | | Comments (0)
Now that the Melodic Minor Scale Modes Diatonic Substitutions are complete do the following:

1. Learn in all keys (C, Db, D, Eb, E, F, F#, G, Ab, A, Bb, B,)

2. Record all the chord progressions and play the modal scale with the modal chords.

3. Start to move to other keys. Example take C Dorian #7 and move to D Dorian #7. 
The chords would be the same chord types just in the new key. See here below:

D, E, F, G, A, B, C#, D is the D Melodic Minor scale - also called the D Dorian #7 Mode.

The D Melodic Minor Family of Chords has the same chord types as the C Melodic Minor Family of Chords.
No matter what key you change to the chord types remain the same!

i chord =     D minor              (4 note chord = D minor major 7)
iio chord =   E minor             (4 note chord = E minor 7th)
III+ chord =  F augmented     (4 note chord = F major 7th sharp 5th)
iv chord =    G major            (4 note chord = G dominant 7th)
V chord =     A major           (4 note chord = A dominant 7th)
vio chord =   B diminished    (4 note chord = B minor 7th flat fifth)
viio chord = C# diminished   (4 note chord = C# minor 7th flat fifth)  

Now record (or have a friend play) these common Aeolian #7 progressions (in the new key) 
5 to 10 minutes each and live (or on another track) play the D Dorian #7 scale using quarter then eighth notes. Remember to start using the sub chords for each chord like these example below.

1. i/9 //// //// IIImaj7+ //// //// vio/9 //// //// ii7/b9 //// V9 ////

2. vi/9/b5 //// vii7/b5 //// i/11 //// viio/b9 ////

3. V11 //// i/6 //// IV9 //// vii7/b5/b13 //// III+/6 //// viio/6 ////// vi7/11 //// viim7/b11 //// i/6/9 //// 

4. i/6/9/11 //// IV/#11 //// viio/b6/b11 //// III+/#11 //// vio/b6/9/11 //// ii/6/b9 //// V7/b6 ////
 







Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music

Melodic Minor Modes - Superlocrian - Diatonic Substitutions - Mode 7

By
Vince Lauria
on December 17, 2009 7:30 AM | | Comments (0)

               Melodic Minor starting on B =     B,  C,  D,  Eb,  F,   G,  A,  B,  C,   D,   Eb,    F,    G,    A,    B 

B Superlocrian scale numbers =  1, b2, b3, b4, b5,  b6, b7, 8, b9, b10, b11, b12, b13, b14, 15

Notice that b2/b9, b4/b11, b6/b13 (b7/b14 rarely called b14 also the 1 or root is sometimes just R for root note) are the same notes.

Get use to them being referred to both ways. This one number system applies to all keys!

(the only difference between a Locrian Mode and a Superlocrian Mode is the flat fourth b4) 


 Now lets take every other note in a group of three, four, five, six, and seven notes.

3 notes = B, D, F                 = B diminished                                                         (Bo)
4 notes = B, D, F, A             = B minor seventh flat fifth                                       (Bm7b5)
5 notes = B, D, F, A, C         = B minor seventh flat fifth add flat ninth                   (Bm7b5/b9)                                                               
6 notes = B, D, F, A, C, Eb    = B minor seventh flat fifth add flat ninth, flat eleventh (Bm7b5/b9/b11) 
7 notes = B, D, F, A, C, Eb, G = B minor seventh flat fifth add flat ninth, flat eleventh, flat thirteenth    (Bm7b5/b9/b11/b13)

Other common diminished chords:
(small m means minor - also / means to add  
additional notes to the original 3 note chord)

Bo/b9                  = B, D, F, C
Bo/b11                 = B, D, F, Eb
Bo/b9/b11            = B, D, F, C, Eb
Bo/b9/b11/b13      = B, D, F, C, Eb, G
Bm7b5/b11           = B, D, F, A, Eb,
Bm7b5/b13           = B, D, F, A, G
Bm7b5/b9/b13      = B, D, F, A, C, G
Bm7b5/b11/b13     = B, D, F, A, Eb, G
Bm7/b11              = B, D, A, Eb         (also called B7#9 - Jimi Hendrix used this chord frequently)
  

Bo/b6                   = B, D, F, G
Bo/b6/b9              = B, D, F, G, C
Bo/b6/b11             = B, D, F, G, Eb
Bo/b6/b9/b11        = B, D, F, G, C, Eb

So here is your assignment that you will do with all keys using the Superlocrian Mode.
Superlocrian chord progression key of C Melodic Minor:

Original progression   - Bo //// F //// Cm //// G ////     (io, V, ii, VI)   
Now with sub chords - B7#9 //// Fmaj#11 //// Cm/9 //// G7 //// (I7#9, V#11, ii/9, VI7)
 
You can use any of the 4 note chords to replace the 3 note chords.
You can use any of the A diminished chords in this lesson to sub for the i of the B Superocrian Scale.
I will expand on this in greater detail later but for now go back to all the Supelrocrian chord progressions previously given (Melodic Minor Scale Modes - Superlocrian - Mode 7) and sub the 4 note chords for the 3 note chords and sub the io chord with the new io chords from this lesson.
You can also sub any of the chords already covered, example G major becomes G11.

Also take these chord formulas and a note name chart and start to create these chords in all possible octaves and positions. When creating chords on the guitar the root, fifth or seventh are often omitted because of just having six strings. 
You can use all notes when multi-tracking.


Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music 

Melodic Minor Modes - Locrian #2 - Diatonic Substitutions - Mode 6

By
Vince Lauria
on December 13, 2009 1:43 PM | | Comments (0)

               Melodic Minor starting on A =  A,  B,  C,  D, Eb,  F,   G,  A,  B,  C,   D,   Eb,   F,    G,    A 

A Locrian #2 scale numbers =  1,  2,  b3, 4, b5,  b6, b7, 8,  9, b10, 11, b12, b13, b14, 15

Notice that 2/9, 4/11, b6/b13 (b7/b14 rarely called b14 also the 1 or root is sometimes just R for root note) are the same notes.

(remember the #2 is in relation to the Major Scale Locrian Mode which has a flat 2)  

Get use to them being referred to both ways. This one number system applies to all keys!

 Now lets take every other note in a group of three, four, five, six, and seven notes.

3 notes = A, C, Eb               = A diminished                                                          (Ao)
4 notes = A, C, Eb, G           = A minor seventh flat fifth                                       (Am7b5)
5 notes = A, C, Eb, G, B       = A minor seventh flat fifth add ninth (Am7b5/b9) also written Am9b5                                                               
6 notes = A, C, Eb, G, B, D   = A minor seventh flat fifth add ninth, eleventh (Am7b5/b9/11) also written Am11b5
7 notes = A, C, Eb, G, B, D, F = A minor seventh flat fifth add ninth, eleventh, flat thirteenth           (Am7b5/b9/11/b13)

Other common diminished chords:
(small m means minor - also / means to add  
additional notes to the original 3 note chord)

Ao/9                  = A, C, Eb, B
Ao/11                 = A, C, Eb, D
Ao/9/11              = A, C, Eb, B, D
Ao/9/11/b13        = A, C, Eb, B, D, F
Am7b5/11           = A, C, Eb, G, D
Am7b5/b13         = A, C, Eb, G, F
Am7b5/9/b13      = A, C, Eb, G, B, F
Am7b5/11/b13    = A, C, Eb, G, D, F
Am7/11              = A, C, G, D         (also called Am7 sus)
  

Ao/b6                 = A, C, Eb, F
Ao/b6/9              = A, C, Eb, F, B
Ao/b6/11            = A, C, Eb, F, D
Ao/b6/9/11         = A, C, Eb, F, B, D

So here is your assignment that you will do with all keys using the Locrian #2 Mode.
Locrian #2 chord progression key of C Melodic Minor:

Original progression   - Ao //// G //// Cm //// F ////     (io, VII, iii, VI)   
Now with sub chords - Am11b5 //// G13 //// Cm/6/9/11 //// Fmaj#11 //// (io11b5, VII13, iii/6/9/11, VImaj#11)
 
You can use any of the 4 note chords to replace the 3 note chords.
You can use any of the A diminished chords in this lesson to sub for the i of the A Locrian #2 Scale.
I will expand on this in greater detail later but for now go back to all the Locrian #2 chord progressions previously given (Melodic Minor Scale Modes - Locrian #2 - Mode 6) and sub the 4 note chords for the 3 note chords and sub the io chord with the new io chords from this lesson.
You can also sub any of the chords already covered, example E minor becomes Em/b9.

Also take these chord formulas and a note name chart and start to create these chords in all possible octaves and positions. When creating chords on the guitar the root, fifth or seventh are often omitted because of just having six strings. 
You can use all notes when multi-tracking.


Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music
















Melodic Minor Modes - Mixolydian b6 - Diatonic Substitutions - Mode 5

By
Vince Lauria
on December 9, 2009 7:25 PM | | Comments (0)

C Melodi   C Melodic Minor starting on G =   G,  A,  B,  C,  D, Eb,  F,  G,  A,  B,   C,  D,  Eb,    F,    G 

G Mixolydian b6 scale numbers =  1,  2,  3,  4,  5,  b6, b7, 8,  9,  10, 11, 12, b13, b14, 15

Notice that 2/9, 4/11, b6/b13  (b7/b14 rarely called b14) are the same notes.  

Get use to them being referred to both ways. This one number system applies to all keys!

 

Now lets take every other note in a group of three, four, five, six, and seven notes.

 

3 notes = G, B, D                     = G major                           (G)

4 notes = G, B, D, F                 = G dominant seventh         (G7)

5 notes = G, B, D, F, A             = G dominant ninth            (G9)

6 notes = G, B, D, F, A, C         = G dominant eleventh      (G11)

7 notes = G, B, D, F, A, C, Eb    = G dominant eleventh flat thirteenth  (G11/b13)

 

 

Other common dominant chords:

(dominant also can be written as G7 or G7th)

(also remember b6 functions also as b13 and b6th funtions as #5 or +)

 

 

G7/b6th                                 = G, B, D, F, Eb                  (G7/b6)

G maj /b6th                           = G, B, D, Eb                      (Gmajb6)

G maj add 9th                        = G, B, D, A                       (Gmaj9)

G maj b6/9                            = G, B, D, Eb, A                  (Gmaj9+)                   

 

G sus                                      = G, C, D

G sus 2                                   = G, A, D

 

 

 

G7 sus                                    = G, C, D, F

G7 sus 2                                 = G, A, D, F

G7/b6 sus                              = G, C, D, F, Eb

G11 sus +                               = G, D, F, A, C, Eb

 

Dont be afraid to work out these chords there are some incredible sound possibilities that normally you would never discover without putting in the time and effort.

 

So here is your assignment that you will do with all keys using the Mixolydian b6 Mode.

Mixolydian b6 chord progression key of C major:

 

Original progression  - G //// Cm //// F //// Dm ////  (I,iv,VII,v)

Now with sub chords - G11 sus+ //// Cm/9 //// Fmaj#11 //// Dm7 ////  (I11sus+,iv/9,VII#11,v7)

 

You can use any of the 4 note chords to replace the 3 note chords.

You can use any of the G dominant chords in this lesson to sub for the I of the

G Mixolydian b6 Scale.

 

I will expand on this in greater detail later but for now go back to all the Mixolydian b6 chord progressions previously given (Melodic Minor Modes - Mixolydian b6 - Mode 5) and sub the 4 note chords for the 3 note chords and sub the I chord with the new I chords from this lesson.

You can also sub any of the chords already covered, example C minor becomes  

Cm 6/9/11.

 

You can also play the G Mixolydian b6 scale over F7 or any of its diatonic substitutions chords as they are both created from the C Melodic Minor Scale.

 

Also take these chord formulas and a note name chart and start to create these chords in all possible octaves and positions. When creating chords on the guitar the root, fifth or seventh are often omitted because of just having six strings. 

You can use all notes when multi-tracking.

 

 

Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music

Melodic Minor Modes - Lydian Dominant - Diatonic Substitutions - Mode 4

By
Vince Lauria
on December 6, 2009 8:00 AM | | Comments (0)
Also called Lydian b7 Mode and the Overtone Dominant Scale. This is one of the most commonly used scales for dominant chords. The Overtone Dominant Scale is especially exciting for its arpeggios!

C Melodic Minor starting on F =      F,  G,  A,  B,  C, D, Eb, F,  G,  A,    B,   C,  D,  Eb,   F 

F Lydian Dominant scale numbers =1,  2,  3, #4,  5, 6, b7, 8,   9, 10, #11, 12, 13, b14, 15

Notice that 2/9, #4/#11, 6/13 are the same notes.  

Get use to them being referred to both ways. This one number system applies to all keys!

 

Now lets take every other note in a group of three, four, five, six, and seven notes.

(sharp eleventh, augmented eleventh and +11 are the same thing also sometimes the / is not used as in F9+11. The +11 is sometimes called b5 as in F9b5 same as F9+11)


3 notes   = F, A, C                     = F major                                                    (F)
4 notes   = F, A, C, Eb               = F seventh                                                (F7)
5 notes   = F, A, C, Eb, G           = F ninth                                                   (F9)
6 notes   = F, A, C, Eb, G, B       = F ninth/ sharp eleventh                       (F9+11)                       
7 notes   = F, A, C, Eb, G, B, D   = F ninth/ sharp eleventh/thirteenth     (F13+11)

More chords from F Lydian Dominant Scale:

F maj/6                                    = F, A, C, D
F maj/9                                    = F, A, C, G
F maj/#11                                 =F, A, C, B
F maj/9/#11                             = F, A, C, G, B
F maj/6/9                                 = F, A, C, D, G   
F maj/6/9/#11                          = F, A, C, D, G, B

F7b5                                          = F, A, B, Eb
F9b5                                          = F, A, B, Eb, G
F7/6b5                                      =  F, A, B, Eb, D

F7/6                                         = F, A, C, Eb, D,
F7/6/#11                                  = F, A, C, Eb, B, D       
F7/6/9                                     = F, A, C, Eb, D, G
F7/#11                                     = F, A, C, Eb, B
F7/#11/13                                = F, A, C, Eb, B, D
F7/6/9/#11                              = F, A, C, Eb, D, G, B 

F9/#11                                     = F, A, C, Eb, G, B 
F13b5                                       = F, A, B, Eb, G, D


F7 sus #4                                  = F, B, C, Eb
F7 sus #4/9                              = F, B, C, Eb, G
F7 sus #4/13                            = F, B, C, Eb, D    (6/13 same thing)
F7 sus #4/9/13                         =F, B, C, Eb, G, D

Dont be afraid to work out these chords there are some incredible sound possibilities that normally you would never discover without putting in the time and effort.

So here is your assignment that you will do with all keys using the Lydian Dominant Mode.
Lydian Dominant chord progression key of C melodic minor:

Original progression  - F //// Cm //// G //// Dm //// ( I, v, II, vi) 
Now with sub chords  - F7sus#4 //// Cm6/9 //// G7 //// Dm6/b9 //// (Isus#4,v6/9, II7, vi6/b9)

You can use any of the 4 note chords to replace the 3 note chords.
You can use any of the F Lydian Dominant chords in this lesson to sub for the 
I of the F Lydian Dominant Scale.

I will expand on this in greater detail later but for now go back to all the Lydian Dominant chord progressions previously given (Melodic Minor Modes - Lydian Dominant - Mode 4) and sub the 4 note chords for the 3 note chords and sub the I chord with the new I chords from this lesson.

You can also sub any of the chords already covered, example E flat augmented becomes 
Eb+ sus #4.

Also take these chord formulas and a note name chart and start to create these chords in all possible octaves and positions. When creating chords on the guitar the root, third, fifth or seventh are often omitted because of just having six strings. 
You can use all notes when multi-tracking.


Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music 

Melodic Minor Modes - Lydian #5 - Diatonic Substitutions - Mode 3

By
Vince Lauria
on December 4, 2009 8:24 AM | | Comments (0)

Also called the Lydian Augmented Mode


C Melodic Minor starting on Eb = Eb, F,  G,  A,  B,  C, D, Eb, F, G,   A,     B,   C,  D,  Eb 

Eb Lydian #5 scale numbers =      1,  2,  3, #4, #5, 6, 7,  8,  9, 10, #11, #12, 13, 14, 15

Notice that 2/9, #4/#11, 6/13 are the same notes.  

Get use to them being referred to both ways. This one number system applies to all keys!

 

Now lets take every other note in a group of three, four, five, six, and seven notes.

(sharp fifth and augmented are the same thing)

 

3 notes   = Eb, G, B                  = Eb augmented                                         (Eb+)

4 notes   = Eb, G, B, D             = Eb major seventh sharp fifth                     (Ebmaj7+)

5 notes   = Eb, G, B, D, F         = Eb major ninth sharp fifth                        (Eb maj9+)

6 notes   = Eb, G, B, D, F, A     = Eb major ninth sharp fifth/sharp eleventh               (Ebmaj9+/#11)                       

7 notes   = Eb, G, B, D, F, A, C = Eb major major ninth sharp fifth /sharp eleventh/thirteenth (Ebmaj9+/#11/13)

 

More chords from Eb Lydian #5 Scale:

(remember 2/9 and #4/#11 same thing)

 

Eb+/6                                      = Eb, G, B, C

Eb+/9                                      = Eb, G, B, F

Eb+/#11                                   = Eb, G, B, A

Eb+/9/#11                               = Eb, G, B, F, A

Eb+/6/9                                  = Eb, G, B, C, F   

Eb+/6/9/#11                           = Eb, G, B, C, F, A

 

Eb maj7+/6                             = Eb, G, B, D, C

Eb maj7+/6/9                         = Eb, G, B, D, C, F

Eb maj7+/#11                         = Eb, G, B, D, A

Eb maj7+/#11/13                    = Eb, G, B, D, A, C            (6/13/ same thing) 

 

Eb+ sus #4                                = Eb, A, B, 

Eb+ sus #4/6                            = Eb, A, B, C 

Eb+ sus #4/9                            = Eb, A, B, F

Eb+ sus #4/7                            = Eb, A, B, D

Eb+ sus #4/7/9                         = Eb, A, B, D, F 

 

 

Dont be afraid to work out these chords there are some incredible sound possibilities that normally you would never discover without putting in the time and effort.

 

So here is your assignment that you will do with all keys using the Lydian #5 Mode.

Lydian #5 chord progression key of C harmonic minor:

 

Original progression  - Eb+ //// Cm //// F //// Bo ////                 (I, vi, II, vo) 

Now with sub chords  - Eb+ sus #4 //// Cm/9/11 //// F7 //// Bm7b5 ////  (I+sus#4,vi/9/11, II7, vii7b5)

 

You can use any of the 4 note chords to replace the 3 note chords.

You can use any of the Ab Lydian #5 chords in this lesson to sub for the I+ of the Ab Lydian #5 Scale.

 

I will expand on this in greater detail later but for now go back to all the Lydian #2 chord progressions previously given (Melodic Minor Modes - Lydian #5 - Mode 3) and sub the 4 note chords for the 3 note chords and sub the I chord with the new I chords from this lesson.

 

You can also sub any of the chords already covered, example D minor becomes Dm/6/b9/11.  

Also take these chord formulas and a note name chart and start to create these chords in all possible octaves and positions. When creating chords on the guitar the root, third, fifth or seventh are often omitted because of just having six strings. 

You can use all notes when multi-tracking.

 

 

Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music

« Advanced: November 2009 | Main Index | Archives | Advanced: January 2010 »