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How to Play The Lydian Dominant Pentatonic Scale
Dominant 7th chords possess a plethora of different melodic devices that you can use when
improvising over these common and important chords.
Though you can explore different modes of the Melodic Minor Scale, symmetrical scales such as
whole-tone and diminished, as well as other exotic sounds when adding to your 7th chord
vocabulary, sometimes the easiest way to expand this part of your playing is to fall back on a
familiar sound, such as the pentatonic scale
As time in the practice room is short for most people, relating new knowledge to previously
learned material is a great way to quickly expand your playing without facing the time
‘commitment of learning something completely new,
One of my favorite dominant chord colors is the Lydian Dominant Pentatonic Scale.
Besides being an interesting scale from a coloring standpoint, itis also closely related to several
other pentatonic scales from a fingering standpoint, making it easy to get under your fingers and
in your ears in a relatively short amount of time.
Have a question or comment about this lesson? Visit the Lydian Dominant Pentatonic Scale
lesson thread in the MWG Forum
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Click to visit the Beyond Basic Pentatonics: Altered Pentatonic Scale for Guitar Homepage
Lydian Dominant Pentatonic Scale
The Lydian Dominant Pentatonic scale is closely related to both the Lydian Dominant Mode, as
well as two different pentatonic scales, the Lydian Pentatonic Scale and the Mixolydian
Pentatonic Scale.
From a fingering point of view, you can take the Lydian Pentatonic Scale, find the 6th and then
raise it by one fret, one half-step, and you have created a Lydian Dominant Pentatonic Scale.
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As well, you can take the Mixolydian Pentatonic Scale, find the Sth, lower it by one fret (half-
step) and you have also built a Lydian Dominant Pentatonic Scale.
Either way is fine, so try both and see how they sit with you. As long as you can learn this scale
based on previous knowledge, not starting from scratch, by relating it to another pentatonic
scale you should be fine.
Ifyou do have to learn it from scratch that's fine too, but you might want to go back and review
those other pentatonic scales just for your own knowledge.
Here is how these three scales compare from an intervallic standpoint:
Lydian Pentatonic
Root 2 3 #4 6 Root
Mixolydian Pentatonic
Root 2 3 § b7 Root
Lydian Dominant Pentatonic
Root 2 3 #4 b7 Root
From a usage standpoint, the Lydian Dominant Pentatonic Scale can be used to improvise
over a 7th chord, producing a 7#11 sound in a similar fashion to the Lydian Dominant Mode.
Here is how the Lydian Dominant Pentatonic Scale looks compared to the Mixolydian
Pentatonic Scale on paper. Since it is used over a 7th chord, I prefer to think of it more closely
related to the Mixolydian Pentatonic Scale.
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Leam Jazz Guitar Scales and Scale Patterns with the Matt Warnock Guitar Jazz Scales App.
Lydian Dominant Pentatonic Scale Fingerings
Below you will find four different fingerings for the Lydian Dominant Pentatonic Scale, two on
the 6th string and two on the Sth string,
For each string set | have written one fingering that stays in position as well as one that shifts
up the neck as you ascend the scale and shifts down the neck as you descend.
Try these fingerings out and see how they sit under your fingers. If you find that you aren't a fan
of these fingerings, no worries, just write out some of your own that cover a one or two-octave
span.
These are common fingerings, but they are far from Dogma, so feel free to experiment with
them in the practice room to see what you can come up with from a fingering perspective with
these, or any, pentatonic scales.
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Lydian Dominant Pentatonic Scale Patterns
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In the following scale patterns, which you can apply to the technical portion of your practice
routing, | have taken a “triadic” approach to the pentatonic scale.
This means that | played the first, third and fifth notes of the scales, followed by the second,
fourth and sixth notes of the scale, basically creating three-note chords based off of the
intervallic structure of the pentatonic scale.
You will notice that these notes don't spell out the traditional Root-3rd-Sth triadic grouping that
you are used to seeing, instead they are creating new three-note groups based on the first-third-
fifth notes of the Lydian Dominant Pentatonic Scale.
Also notice that there is a rhythmic component to this pattern that really sounds hip when you
Play it at a steady pace. The melodic pattern, a three-note triad based shape, is played against
a two-note rhythm.
This is referred to as rhythmic superimposition. While this may sound like a fancy term, but it's
just a simple way to play a group of three notes while using a rhythm that is based on a two-
attack pattern, displacing the starting note of the melodic pattern each time it is played
This is a fun way to expand your pentatonic scale knowledge and finger dexterity, while adding
new ammunition to your improvisational vocabulary at the same time. Once you have these
patterns under your fingers, take them to a static 7th chord and try them out to see how they
sit under your fingers and in your ears in an improvisational setting as well as a technical one
Lydian Dominant Pentatonic Scale Blues Solo
One of my favorite places to use the Lydian Dominant Pentatonic Scale is in the context of a
blues chord progression.
In the following example, | have written out a one chorus improvised blues solo that uses the
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Lydian Dominant Pentatonic Scale for each chord in the tune.
So, for F7 | used the F Lydian Dominant Pentatonic Scale, for Bb7 the Bb Lydian Dominant
Pentatonic Scale, and for C7 the C Lydian Dominant Pentatonic Scale.
‘After you've checked out this chorus, try to write one or two out on your own. Then, when you
feel comfortable, try practicing with a plavalong recording, while only using the Lydian Dominant
Pentatonic Scale to create your lines over the blues.
F7 Bp? Fr
Bb? Fi
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Give the Lydian Dominant Pentatonic Scale a try in your practice routine this week. It is a fun
and easy way to spice up your 7th chord soloing without having to learn seven-note modes or
odd-fingered scales in the process.
Do you have a favorite way to use this scale? If so, please share it in the comments section
below.
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Scomments
1. Tom, April 9, 2012:
Hey Matt. Great stuff as always....| love these blog/newsletters.
I think | had a ah hah moment with this scale. | this not essentially like playing a E Min
Flat 7 arpeggios, starting on the E, or 3rd of the C scale? If so thanks, was never quite
sure how to apply that conept!
Regards, tom
2. Matthew Warnock, April 9, 2012:
Hey Tom,
No problem, thanks for checking out my site. I'm not quite sure if that's it, but this
pentatonic does come from the melodic minor scale, it is based off of the fourth mode. So
the C Lydian Dominant Pentatonic is closely related to the G melodic minor mode and
pentatonic scale.
Ifyou start the C scale on E you get:
E F# A# (Bb) CD
So it's not quite Em7, but it does have the root, E, the b5, Bb, and the major 7th, D. So
‘some of those notes are in there, just not all of them.
3. Mike Crutcher, August 28, 2014:
Matt: Any reason we can't use this Lydian Dominant Pent scale over the tritone sub chord
to get the altered dominant sound? C Lydian as Gb Altered Pent? It wouldn't yield the b9
or the #9, but it would yield the b5 and b13, as well as the Maj. 3rd and flatted 7th(Gb, Bb,
C, D, Fb).
4. Matt Warnock, August 28, 2014:
epsimatwarnockgitar com beyond: basic-perttoncs- introducing the-lydlan-dominart-peratonic-scale movirto16 Lycian Daminant Petter Seale fr Guta - MattWarnockGuilr.com | MATT WARNOCK GUITAR
Hey, you can use that scale over that chord for sure, cool sound!
g
. Mike Crutcher, August 28, 2014:
I've been finding that to be an easy way to incorporate altered dominant sounds into my
playing. | find Lydian b7 easier to think of than the altered dominant scale, so | just do the
Lydian dominant from the flatted 5th. D7 becomes Ab Lydian dominant, E7 becomes Bb
Lydian dominant, ete.
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