• The Application Of The Lydian Dominant Scale In Chord Formation

    in Chords & Progressions,Experienced players,General Music,Gospel music,Jazz music,Piano,Scales

    The goal of this lesson is to show you the application of the lydian dominant scale in chord formation.

    Attention: You’ll appreciate the application of the lydian dominant scale in chord formation more if you’re a gospel or jazz pianist. 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.

    In a previous lesson, we started out by learning the definition and formation of the lydian dominant scale in all twelve notes on the keyboard.

    Today, we’re taking it a step further by exploring the triadic, seventh, and extended chords that can be formed using the lydian dominant scale.

    A Quick Review Of The Lydian Dominant Scale

    Preliminaries

    Due to the fact that the lydian dominant scale is one of the modes of the melodic minor scale, it would be appropriate for us to highlight the melodic minor scale before we proceed.

    The melodic minor scale is one of the traditional scales that every piano player must reckon with. Using the natural minor scale anyone can form the melodic minor scale by raising its sixth and seventh tones.

    Raising the sixth and seventh tones of the C natural minor scale :

    …(which are Ab and Bb):

    …by a half step (to A and B):

    …produces the C melodic minor scale:

    Now that we have an idea of what the melodic minor scale is, it’s easier to describe the lydian dominant scale.

    “What Is A Lydian Dominant Scale?”

    The lydian dominant scale is the fourth mode of the melodic minor scale.

    Starting and ending the melodic minor scale on its fourth tone produces the lydian dominant scale. For example, starting and ending the C melodic minor scale:

    …on its fourth tone (which is F):

    …produces the F lydian dominant scale:

    If you’ll want to learn more about the definition and formation of the lydian dominant scale, click here.

    “Check Out All The Lydian Dominant Scales On The Keyboard…”

    The C lydian dominant scale:

    The Db lydian dominant scale:

    The D lydian dominant scale:

    The Eb lydian dominant scale:

    The E lydian dominant scale:

    The F lydian dominant scale:

    The Gb lydian dominant scale:

    The G lydian dominant scale:

    The Ab lydian dominant scale:

    The A lydian dominant scale:

    The Bb lydian dominant scale:

    The B lydian dominant scale:

    Chord Formation Using The Lydian Dominant Scale

    The lydian dominant scale can be used in the formation of various chord classes and we’ll be looking at the triad, seventh chord, and extended chord that can be formed from the lydian dominant scale.

    Formation Of The Dominant Triad

    Using the C lydian dominant scale:

    …a dominant triad can be formed when its first, third, and fifth tones are played together.

    The first, third, and fifth tones of the C lydian dominant scale:

    …are C, E, and G respectively:

    So, the C dominant triad:

    …which is chord 5 in the key of F major:

    …can be derived from the lydian dominant scale. Consequently, it’s okay for anyone to improvise over the C dominant triad:

    …using the C lydian dominant scale:

     

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    Chuku Onyemachi

    Head of Education at HearandPlay Music Group
    Onyemachi "Onye" Chuku is a Nigerian musicologist, pianist, and author. Inspired by his role model (Jermaine Griggs) who has become his mentor, what he started off as teaching musicians in his Aba-Nigeria neighborhood in April 2005 eventually morphed into an international career that has helped hundreds of thousands of musicians all around the world. Onye lives in Dubai and is currently the Head of Education at HearandPlay Music Group and the music consultant of the Gospel Music Training Center, all in California, USA.

    Related posts:

    1. Here’s How Secondary Dominant Chords Are Applied In Cyclical Progressions
    2. Revealed: How Jazz Musicians Resolve The Tritone
    3. Who Else Wants To Learn About The Lydian Dominant Scale?
    4. Harmonization 202: “Drop-2 Voicings” Of Neighboring Chord Couples
    5. Who Else Is Interested In Learning About The Altered Extensions Of The Dominant Seventh Chord?
    6. Who Else Wants To Learn The Tadd Dameron Turnaround Progression?
    7. Who Else Wants To Learn About Symmetrical Scales And Chords?


    Related posts:

    1. Here’s How Secondary Dominant Chords Are Applied In Cyclical Progressions
    2. Revealed: How Jazz Musicians Resolve The Tritone
    3. Who Else Wants To Learn About The Lydian Dominant Scale?
    4. Harmonization 202: “Drop-2 Voicings” Of Neighboring Chord Couples
    5. Who Else Is Interested In Learning About The Altered Extensions Of The Dominant Seventh Chord?
    6. Who Else Wants To Learn The Tadd Dameron Turnaround Progression?
    7. Who Else Wants To Learn About Symmetrical Scales And Chords?



    Tagged as: chord formation, lydian dominant scale


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