88 PERSPECTIVE #3 Altering a Scale To produce « Dorian’? mode, simply flat the second degree of any Dorian mode. E Dorian ‘Dorian E Dorian? ‘Dorian! In Relation to PERSPECTIVE #4 a Chord’s Root You can locate the Dorian “2 mode by thinking of the melodic minor scale whose root les 0 whole step below the root ofa minor chord. If you wished to use D Dorian 2 agoinst« Dmin7 chord, you would think in the CMeladic Minor scale because C lies @ whole step below the oot of the Dmin7 chord. Dmin7 Ds Suppose you were improvising against these chords. The Dorian ‘2 mode could be thought of as the melodic minor scale that begins on this note (C). Fmin7 F5 Suppose you were improvising against these chords. The Dorian*2 mode could be thought of as the melodic minor scale that begins on this note (E"). Suppose you were improvising agains! these chords The Dorian *2 mode could be thought of as the melodic minor scale that begins on this note (F)89 Adjusting Key Signatures PERSPECTIVE #5 You can deduce the proper key signature for a specific Dorian'2 mode by first creating on unaltered Dorian key signature: drop flat or a add o sharp to a minor key based on the root cof the chord. Now, change that key signature to reflect o lowered second degree. If you wanted to know the key signature for E Dorian ‘2, you would think the following: The key of EMinor has one sharp (F¥). Add sharp (C4) and younow have two sharps in the key signature, IF younow lower the F#toF*to reflect the Dorian’2 lowered second degree, youhave the key signature for E Dorian’2: C?. What key signature corresponds to G Dorian'2? The key of G Minor has two flats (8°, E". Drop one flat and lower A to A'to reflect the lowered second degree and youhave your key signature: Band A’. The Mode in Six Closed Positions Here are six fingerings for the Dorian '2 mode in the key of 8. Practice the mode in every key! x XI xv xl xv XIX90 OPEN POSITION FINGERINGS In Every Key € Dorianb2 F Dorion 2 BP Dorian’ oes oe 8 v ny Dorian ’2 E Dorian ’2 m ov mv A Dorian by HARMONIZING THE MODE Here are the chords constructed from the harmonized Dorian'2mode, Practice transposing them to alleys. The chord types remain constant in every Key. Dminz — EbMai7ts 7 G7 Amin?*5—Bminzs— Cmin(Maj7).Omin7 e Here ore Iwo possibilities for voicing the harmonies for this mode. The First i for F# Dorian '2 ond the second is for C+ Dorian “2. Read through them from left to right. Ftmin? FAT xo > Bminttai7) ——ctmin7 TeThe Dorian ‘2 mode will work well over the Following: 1) any ofthe chords constructed from the harmonized Dorian’2 scale; 2) starting from the root of min chords. The Dorian*2mode is rarely used, Other minor modes and scale generally sound better. 1. ADorian’2 Amin? 2. FDorian’2 Fmin7 a7 ©’min(Maj7) a92 MELODIC PATTERNS For Practice ADorian’293™ LYDIAN "AUGMENTED. cae: ‘The Lydian augmented mode is a mojor-type scale tha is built upon the third or scale. Heres the scale in all he keys. The keys re In Every Key on Single Strings degree of the melodic crranged ina cycle of fourths. A Lydian Augmented |, B Lydian Augmented babe o —— or F Lydian Augmented D’Lyéian Augmented E Lydian Augmented a 3 = = potot= = fofotow! (abd Sw B' Lydian Augmented ALydian Augmented ganeseee™ G' Lydian Augmented = hand F ove enbornosicaly save The rls snd ony, F*Lydian Augmented G Lydian Augmented ote95 Finding the Half Steps The formula for the Lydian augmented mode is1-1-1-1-1/2-1-1/2, The half steps occur between steps five and six, and seven and eight. The C Lydian Augmented Mode is shown below onall strings. Practice improvising inl keys using the Lydion augmented mode up and down each string Thinking in a Parent Key Mai7*5 chords funtion as ll chords within the melodie minor scale, The Lydian augmented mode corresponds to these very distinctive chords. IF you were improvising ogoinst a GMoj7!5 chord and you wanted to hear Lydian augmented sounds, you would ask yourself “in what melodic minor scale is GMaj7#5 the Ill chord?" The answer is E Melodic Minor maiz *s © Use the © Melodic Minor scale because E” Maj7#5 is the ili chord of C Melodic Minor_J A Maz *s © Use the F Melodic Minor scale because A’ Naj716 is the ili chord of F Melodic Minor. D’ Maj7#s co ZA LS LEED © Use the 8” Melodic Minor scale because D’ Maj7#5 is the ii chord of B* Melodic Minor. @ maiz 's, o ee a i ZL LLL © Use the E” Melodic Minor scale because G’ Maj7#5 is the ii chord of & Melodic Minor.96 PERSPECTIVE #3 Altering @ Scale To produce a Lydian augmented mode, simply raise the fifth degree of any Lydian mode, F Lydian C Lydian F Lydian Augmented C Lydian Augmented In Relation to PERSPECTIVE #4 a Chord's Root You can locate the Lydian cugmented mode by thinking of the melodic minor scale whose root lies o minor 3rd below the root of a Maj7#5 chord. If you wanted fo use F Lydian Augmented ‘egcinst an FMai745 chord, you would thinkin the D Melodie Minor scale because D isa minor 3rd below the root of the FMai7#5 chord, B’ Maj7 root a ja 188k note of no : parent scale t \v Suppose you were improvising ogaint this chord. The Lydian augmented mode could be thought of as the melodic minor scale that begins on this note (G). A DMaj7 Suppose you were improvising agains! this chord, The Lydian augmented mode could be thought of os the melodic minor scale that begins on this note (8) Suppose you were improvising agains this chord. The Lydian augmented mode could be thought of as the melodic minor scale that begins on this note (Al.7 Adjusting Key Signatures ed lat) od on EN ae) You can deduce the proper key signature for a specific Lydian a ugmented mode by first creating an unaltered Lydian key signature: drop a Flat or add a shorp to a major key based con the root of the chord. Now, change thet key signature to reflect a raised fifth degree, If you wanted to know the key signature for FLydian Augmented, you would think he following The key of F Major has one flat (8). Drop one flat and you now have no flats in the key signature. If younow raise he C to Co reflect the Lydian augmented raised fifth, you have the key signature for FLydian Augmented: C!. What key signature corresponds to C Lydian Augmented? The key of C Major has no sharps or flats. Add a shorp and raise G to GHto reflect the raised fifth degree and you have your key signature: F#, and Ci The Mode in Six Closed Positions Here are six fingerings for the Lydian augmented mode in the key of G. Practice the mode in every key.OPEN POSITION FINGERINGS In Every C Lydian Augmented F Lydian Augmented B’ Lydian Augmented 7 mee ty = A? Lydian Augmented pe eye . z : ty ty ea Lydian Augmented E Lydian Augmented D Lydian Augmented sot HARMONIZING THE MODE Here are the chords constructed from the harmonized Lydian augmented mode. Practice transposing them to all keys, The chord types remain constant in every key ears 7 G7 Amin7’s—amin7>5—CmintMaj7) min? etMai7ts & Here are two possibilities for voicing the harmonies for this mode, The first is For F Lydian Augmented ond the second is for G*Lydian Augmented. Read through them from left to right. Mai7 & or AT Bmin7’s —cfmin?’s —_Dmin(ai7) Tone aro Dmin7’s — E?min(Maj7) Emin? oP Mais. a , a” ifae The Lydian augmented mode mode will work well over the following: 1) any of the chords constructed from the harmonized Lydian augmented mode; 2). storting from the root of moaj7#5 11 maj 11 and maj7#5 chords. 1. C Lydian Augmented CMaj7t5, Amin(Maj7) Go Se a a a a a a a a a rer © 2. G Lydian Augmented Givei7t5 LDP PIP PP PIP PPP HAP S|100 IELODIC PATTERNS For Practice Ab Lydian Augmented i = ; f ge oy C FA Gases T = — = oe == ps ee =ee C Lydian Augmented 101102 ‘of themelodic minor scale. in a cycle of fourths © Lydian’7 ia LYDIAN 7. Mode A Lydian’? —_———————— Se upon the fourth degree the scale inallthe keys, The keysaare arranged y ‘on Single Strings F Lydian’? D'tyeian'7 E Lydian’7 sano —intoto nates ¥ 1 & & =e} Se Lydian '7 a E’Lydian'7 DLydian'7 = Grond Fore enharmoricelly Sob eo 7 uivaent. The notes sound 2 the some but ore named fer: LL r ently. = Friydian’7103 Finding the Half Steps The formula forthe Lydion*7 mode is 1-1-1-1/2-1-1/2-1. The half steps occur between steps four and five, and six ond seven. The FLydian'7 Mode is shown below on all strings. Practice improvising in all keys using the Lydian 7 Mode up and down each string Ix Thinking in @ Parent Key Dominant 7th chords function as both IV ond V chords in the melodie minor scale. The Lydian “7 mode corresponds tothe IV chord. If you are improvising against a D7 chord and you want to.use the Lydian'7 mode, You ask yourself: ‘in what melodic minor scale does D7 appear <5 the IV chord?" The answer of course is A Melodic Minor. 87 EPIL LL ILLITE © Use the F# Melodic Minor scale because B7 is the IV chord of F# Melodic Minor. | er © Use the 8 Melodic Minor scale because E7 is the IV chord of 8 Melodic Minor. —_—__ a7 = ee Z 7 = © Use the E Melodic Minor scale because 7 is the IV chord of E Melodic Minor. LAPS + LF} 277 © Use the A Melodic Minor scale because D7 is the IV chord of A. Melodie Minor.104 PERSPECTIVE #3 Altering a Scale To produce a Lydian ‘7 mode, simply lower the seventh degree of any Lydian mode. F Lydian © Lydian = = —— bebo = oa? F Lydian*7 E’ Lydian’7 In Relation to PERSPECTIVE #4 a Chord's Root You locate aLydian’7 mode by thinking of the melodic minor scole whose root lies a perfect Sth above or a dth below the root of © dominant 7th chord. If you were improvising against anF7 chord ond desired Lydion’7 sounds, you would play a C Melodie Minor scole. a7 Bs SS < =o {St note of the 7 arent sale y ~ vit = Suppose you were improvising against these chords. The Lydian ‘7 mode could be thought of as the melodic minor scale that begins on this note (F) G7 Gs vn x Suppose you were improvising against these chords. The Lydian '7 ‘mode could be thought of as the melodic minor scale that begins on this note (D). Av AS m1 +H xi = Suppose you were improvising against these chords. The Lydian *7 mode could be thought of as the melodic minor scale that begins on this note (E)105 Adjusting Key Signatures PERSPECTIVE #5 You can deduce the proper key signature for a specific Lydian *7 mode by First creating an unaltered Lydian key signature: drop a flat or add a sharp to a major key based on the root of the chord. Now, change that key signature to reflect a lowered seventh degree. If you wanted to know the key signature for A Lydian'7, you would think the following: The key of ‘A Mojor hos three sharps (F, Ct.G#). Add o shorp (D4, nd you now have four sharps in the key signature. If younow lower the G'to Gto reflect the Lydian’7 lowered seventh degree, you hove the key signature for A Lydian'7: F,Ct, and D#. What key signature corresponds to D Lydian'7? The key of D has two sharps (F4, C#), Add a sharp (G#) and lower the Ctto Cito reflect the lowered seventh degree and you have your key signature: FF and Gt The Mode in Six Closed Positions Here ore six fingerings for the Lydian '7 mode in the key of D. Practice the mode in every hey.106 OPEN POSITION FINGERINGS peel: > Clydianb7 F lydian’7 . age. ite oe ol® my hoy v E lydian’7 2 lydian?7 . are v v y v v y v v v IARMONIZING THE MO! Chord Voicings Here are the chords constructed from the harmonized Lydian’7 mode. Practice transposing ‘hem to all keys. The chord types remain constant in every key. FT G7 Amin7?5 — Bmin7’5 Cmin(Maj7) Dmin? —E’Maj7#5 7 o = Here are two possibilities for voicing the harmonies for this mode, The first is for D Lydian *7 and the second is for B’ Lydian 7. Read through them from left to right. Arietta) ect owas Ht Frin(Maiz) —Gmin?_ Mars aby107 TheLydion'7 mode works well over the following: 1) any of the chords constructed from the harmonized Lydian’7 scale; 2] ony dominant 7th, 9th or 13th chord with or without o raised Ith. 4. DLydian’7 A boii - Ge LLLP LL LI LIP FT © 2. F, B,D’, and C Lydian 7 Fo e7 Cae LDL PP PD SPS e o7 c7 Fo c7 E and Lydian’7 E7t9 cn oe 4. G Lydian '7 Dmin7 Gott Ciao Doran 1» GLydian?7 2 C Lysian or nian108 MELODIC PATTERNS For Practice A' Lydian'7re D Lydian '7 109no Be The Mixolydian’s mode is « domi e M\xownian 66 Mode scale thot i built onthe fifth degree cof themelodieminor cole. Here isthe scale inallthe keys. The keysare arranged in. cycle of fourths Mixolydian '6 A’ Mixolydian 6, Bucolydian’s ga tine : ee ew = F tctaan' OF mnoyin 6 Sa sina oe [A Mixolydian 6 pS et