The first thing to cover is what the Lydian Dominant scale is. Lydian Dominant Bebop Scale on Piano. In this example I am using G7 as a tritone substitute in Gb major again. The F augmented triad is also an integral part of the G lydian b7 or D melodic minor. Semi-notes: 2 - 2 - 2 - 1 - 2 - 1 - 2 The first thing to cover is what the Lydian Dominant scale is. F: F, G, A, B, C, D, Eb, F Dominant! This also fits with the context since it is a G7 that is resolving as a backdoor dominant up to Amaj7. The A7(#5) is one of my favourite arpeggios in melodic minor, and in fact there are two dom7th(#5) arpeggios in there. Lydian Dominant Scale. 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. First the G7 is the tritone substitue of Db7 in a II V I in Gb major. The forgotten triad or G major b5 is also a good arpeggio to get the Lydian b7 sound across. G: G, A, B, C#, D, E, F, G This example is a longer line on a G7 resolving as a backdoor dominant back to Amaj7. There are many great options for getting some new sounds over these chords. So my friend, this means that the Lydian dominant scale is the fourth mode of the melodic minor scale. The Scale and the chord. The second example in that line is a IV bVII I in A major where G7 is the backdoor dominant or bVII. G#/Ab: G#, A#, C, D, Eb, F, F#, G# / Ab, Bb, C, D, Eb, F, Gb, Ab As the name says, it's a combination of the lydian and the dominant (also known as a mixolydian scale) to create a scale with a raised 4th and a lowered 7th. The G7b5 is played as a pattern and the entire bar is filled up by this pattern. This means that G lydian b7 is D melodic minor from G to G. The scale is shown here below: 3 Lydian Dominant Progressions The scale has, for example, been present in modern classical music with a touch of folk music and can deliver a kind of mystic feeling. F#/Gb: F#, G#, A#, B# (C), C#, D#, E, F# / Gb, Ab, Bb, C, Db, Eb, Fb (E), F# The scale has, for example, been present in modern classical music with a touch of folk music and can deliver a kind of mystic feeling. If you explore the diatonic sus4 triads in D melodic minor you will come across this great sounding arpeggio: Gsus#4. Again the arpeggio is clear enough to be the only thing I am using on the G7. The example starts with a chromatic enclosure, then a Dm melody and from there continues with a Gsus(#4) arpeggio resolving to Amaj7. That is the best way for me to improve my lessons and make them fit what you are searching for. Below are some common and playable voicings for a G7(#11) that all fit in the G Lydian b7 sound. The scale is a mode of the melodic minor scale found on the IV. If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: If you have any questions, comments or suggestions for topics then please let me know. Lydian Dominant Scale. Since it includes the minor seventh is the scale used for playing over a dominant seventh chord, which not function as V chord and especially the 7(#11) chord. B: B, C#, D#, E# (F), F#, G#, A, B, Intervals: 1, 2, 3, 4#, 5, 6, 7b This video is going over 10 Lydian Dominant Guitar Licks each one with a different arpeggio that you can add to your own vocabulary. Lydian Dominant Scale. Well, that’s the flat 7! The goal of this lesson is to show you the application of the lydian dominant scale in chord formation. 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. Lydian is a major scale with a #11 or raised 4th scale degree. However, if you’re neither a gospel nor a jazz pianist, it’s also important you learn about the chords that can be formed using the lydian dominant scale. I will also first cover what common chord progressions have Lydian Dominant chords, and some solid Lydian b7 chord voicings. Ed Bickert – A Jazz Guitarist You Need To Know About! Attention: You’ll appreciate the application of the lydian dominant scale in chord formation more if you’re a gospel or jazz pianist. The Lydian Dominant Scale is often referred to as the Lydian b7 Scale, but goes also under the names Acoustic Scale, Overtone Scale as well as Bartok Scale (from the Hungarian composer Béla Bartók who used the scale). This example is using a IV bVII I progression in A major where the G7 is the bVII.