Lydian Tracks Pt. 2

A Path to Modal Improvising

Continuing Lydian
We want to continue from our last entry, so if you haven't read the February issue, it's critical to start there, or none of this issue will mean much to you: Lydian Tracks Pt. 1; A path to Modal improvising  http://mandolinsessions.com/feb09/Eschliman.html. Remember we looked at multiple closed finger patterns based on a major scale, and that was certainly a great place to start. We altered one note, raising the 4th scale degree to create the Lydian mode, but another tactic you can use is to apply the same pattern approach based on the 5th scale degree.

Pleading the 5th
Our first pattern set for G Lydian raised the C#, so if you base the Lydian improvisation on the 5th not D, you're actually using a D major scale, D, E,G#, G, A, B, C#, D. You may well have already been ahead of us on this, it's not terribly challenging:

Same for the Bb Lydian, we base the patterns on the F Scale, F, G, A, Bb, C, D, E (natural), F.

Best of Pentatonic
What we want to set you up for is a magnificent use of a scale you're likely already familiar with if you're into Folk/Bluegrass, the Pentatonic Scale. It's a no-brainer you could use G and Bb pentatonic respectively: G, A, B, D E, and Bb, C, D, F, G. However, though these effectively outline the lower triad of the G and Bb triads, the color notes of the chord are "missing in action," the 7th, and the raised 4th (raised 11th)  F# and C# (in G),  A and E natural (in Bb).

Here's where it gets fresh…
We'll grab the Pentatonics based on the 5th scale degree comprised of the notes D, E, F#, A, and B. This injects the 7th degree in G, or F#. This improvises intuitively over the key of G, and though we didn't mention it in our Arpeggio studies last time, if you took a Major 7 chord based on this same Pentatonic, you could improvise similarly, with D, F#, A, C# in G, and F, A, C, E in Bb. Note, in both cases you have the defining chord tones of the 3rd and 7th, lending strong harmonic identity and definition as you improvise.

Something missing
Still, we are neglecting the inclusion of the most important color note, the raised C# (4th) in G. Here's where we can have fun with yet another Pentatonic scale, based on the 2nd scale degree A (in G). Take a look at this set of notes:

A, B, C#, E, F#

Granted, you don't have the tonic G, but chances are the bass player or some other instrument is pounding out that note somewhere. Here are some FFcP possibilities for both key centers, A pentatonic for the key of G, C Pentatonic for the key of Bb:

Take a look at the Bb Lydian section of the song and try the same trick in Bb with the 2nd pair, the color note E as your raised 4th:

C, D, E, G, A

Musicianship on another scale
The innate hazard approaching improvisation with scales is all your solos can sound like scales. If you used chord arpeggios only as we suggested last time, it would sound like an arpeggio drill. Pentatonic scales can yield the same vanilla monotony (we'd argue in some Bluegrass circles it often does), but utilizing the keys based on extended chord ranges, you pop in a new sonority and tonality consistent with the jazz genre. If you could combine all these, your solos will be even more fresh and creative, combinations of up and down stepwise motions and skips for variety. You want your scales learned so well as to be automatic and subliminal, but as an approach, not as rote. Scales, chord arpeggios, and Pentatonics are not the music, but a way to the music.

The next chorus is yours…

Have you been enjoying the great resources at Mel Bay's MandolinSessions.com? If you're new here, be sure to click on the Back Issues button above. If you've been a regular, take the time to drop us a note with some feedback: a question for a future article, an observation about something that is helping your playing, or just let us know what part of the world you are in. Some of you have already done this, and we treasure it when you take the time. Contact us at http://jazzmando.com/contact_jazzmando.shtml , and of course drop in on the JazzMando.com website, for the latest “Tips and Tricks” and jazz mandolin-related news! If you have an RSS Reader, take advantage of our RSS feed feature!

  
Are you on Facebook? A couple of resources, first of all join the growing group of Mel Bay friends: http://www.facebook.com/home.php#/profile.php?id=616693125&ref=ts, and second, join up with the JazzMando FFcP “Yoga Fretboard for Mandolin” Group, http://www.facebook.com/home.php#/group.php?gid=48378448657 . You’ll enjoy participating in discussions about the FFcP system with other users around the globe!