Land Of The Lydian

ByDaniel Weiss

Hey everyone, how’s it going? Daniel here, and I’m here with a cool lick in Lydian that hopefully will give you some ideas that will become part of your own phrasing. So without further ado, let’s dive right in.

TL;DR
Here’s the deal: This Lydian lick uses E major 7 and sus2 arpeggios with chromatic approaches and stacked thirds. Hybrid picking helps with the articulation.

I’m starting in first of all, it’s an E major seven. Our kind of vibe going on here with this Lydian sound. I hope you know this voicing. It’s a really beautiful voicing, and this is what is happening over here:

Starting on the sixth fret, I’m playing this chromatic embellishment into the root. That’s E, and then starting off with the arpeggio into the nine: sixth fret over here, nine, eight, and seven. You know what I really love to do is take any scale and opportunity to create some licks and just stack those thirds. So here I have stacking thirds, so I have a chromatic approach and then stacking thirds from the third all the way up to the nine, then reversing and landing on the root.

Now this is a really beautiful sound that I love using. This is a sus2 sound. So for those of you who learned all your triads [Music], which is the most important thing to do, right? Learn some triads. You know that this is a suspended four and this is the major seven. So you have a sus2 major 7 arpeggio.

Now let’s talk about the right hand. Well, usually when I teach on this channel, I say just go whatever you want with the right hand. Just do whatever works for you. But I will say that the hybrid kind of picking over here definitely helps me out. So I have some use of the pick and then some hammer-ons, and then finger figure over here: middle and index, then going on, hammering in. And here’s the part of the lick, so the first half, then I’m coming back with the E major 7 arpeggio, basically sliding down with the forefinger, then releasing over here. I have this pull-off and then coming back to the triad and to the seven of the chord.

Then going on from there. So this is an E major seven arpeggio [Music] into the sixth, a very well-known kind of movement and jazz melody [Music].

So we have [Music] all right guys, this is where it becomes really cool [Music] [Applause]. Here we have the sus4 arpeggios [Music]. So we have 14th fret, 9th fret, 12th fret, and 11 [Music] 11 [Music].

Then doing the exact same shape from the major seven [Music] [Applause]. Then doing the exact shape from the five of E, which is B. This is the seventh fret, another sus4 arpeggio which I really love. Kind of obsessed with them, actually. I always play them.

And then ending with this beautiful voicing, which is root flat five, then the open string giving us the five, the natural five, and doubling the octave with E, ending with a low E string. So we have all together [Music].

Once again, guys, hope you learned something cool today and enjoyed this lesson. Please make sure to subscribe, and if you enjoy these kinds of licks, make sure to check my course 51 Galactic Jazz Licks. I’ll see you next time.

Lydian Is one of my favorite modes, and I have a feeling that I am not the only guitar player who feels this way.
Its’ bright and shiny colors always seem to get everyone excited.
Its’ beautiful harmonies and diatonics offer rich possibilities which never seem to age no matter what style one creates.

Another mystical thing about the Lydian mode is how great it fits the natural tone of the guitar.

It is, by all means, a scale full of wonder and joy!

While watching the video and learning the phrase Is probably why you are here, I would also like to give you a few pointers. You will also notice I hint at some of them in the video as well.

But first, here Is a delicious Lydian voicing for you to chew on! The one I play in the video at 01:02.

This beautiful: Lydian Maj 9 #11 in E, Voicing is one of my favorites, with a 9th and of course, the Lydian’s trademark sound – the #11.

Have you experimented with open string chord voicings before?

01 Chromatics

Even though my moves are mostly diatonic in this phrase (as In: mostly using the notes which are derived from the scale’s notes) I do include some chromatic approaches.

Cool, right? This is exactly what I mean about seeing arpeggios as sounds, not shapes. The Fretboard Freedom Path breaks down how these sus2 and major 7 arpeggios actually connect.
Explore the Fretboard Freedom Path →

Chromaticism Is a big part of my musical vocabulary which has been heavily inspired by jazz and bebop musicians such as Charlie Parker, Bud Powell, Chick Corea.

Those of you who have joined my online programs know that I make sure to demonstrate and teach a wide variety of chromatic use over various chords, scales, and progressions. And present them as one of the ultimate boosters of melodic line construction.

02 Make your lines stand out

  • Explore diatonic structures using thirds, fourths, fifths, sixths, sevenths, etc.
  • Balance the shape of your phrases by using different intervals
  • Experiment with creating well-balanced melodic lines that represent your taste and sense of style.

Whenever I practice any scale I make sure to Dive deeply into its harmony, intervals, and diatonic environment, doing that has transformed my playing.

03 We Are All Unique

Just as every artist has their own way of putting ideas together every musician has his own way of coming up with melodies aka; lines, phrases, licks that resonate directly with what they hear in their mind, taste, and ideal.

The way one perceives music, emotion, aesthetics, perhaps even life, and culture itself is a direct influence over his/her musical perception. That is why I find music can be such a subjective, open-minded experience both for the observer & creator.
It is always a matter of perspective.

Let your taste guide you.

Let the exploration feel fresh & exciting.

Common Mistake Don’t Just learn the phrase – LEARN FROM THE PHRASE!

Whatever phrase you learn, make sure to learn its concepts rather than just a pile of notes.

  • Find its D.N.A
  • Break the concepts down and move them in various scales/styles
  • MAKE THEM YOUR OWN!
  • Use them to develop your own vocabulary on the guitar.

and all of that my friend can be done when your fundamentals – are solid!

04 Lydian Exploration: Expanding Your Musical Horizons

As you embark on your journey with the Lydian mode, remember that its allure extends beyond its captivating sound. Embrace the opportunity to explore its nuances and push the boundaries of your musical expression. Whether you’re crafting intricate melodies or weaving complex harmonies, the Lydian mode offers a boundless playground for creativity.

So, immerse yourself in the beauty of the Lydian scale, and let its radiant tones inspire your musical endeavors. With dedication and curiosity, you’ll uncover a world of musical possibilities waiting to be discovered.

lydian

Check out my YouTube channel!

Daniel Weiss

About Daniel Weiss

Berklee-trained jazz fusion guitarist, Guitar Idol 2016 finalist, and praised by Jordan Rudess (Dream Theater). Daniel has taught over 5,000 students worldwide through his Fretboard Freedom Path method. Learn more

Your next step
The Fretboard Freedom Path
A structured roadmap that connects triads, arpeggios, and voice leading into one system. Every step builds on the last – so you always know what to practice next.
Start the Roadmap →

Frequently Asked Questions

What is a sus2 major 7 arpeggio and how is it different from a regular major 7?

A sus2 major 7 arpeggio combines a suspended second chord with a major 7th interval, creating a unique tension. Instead of the third (which defines a major chord), you use the second, then add the major 7th on top – this gives it a more open, floating quality that works beautifully in Lydian mode.

How do I use chromatic embellishments to approach the root note in Lydian licks?

Chromatic embellishments work by playing a note one half-step above or below your target note (in this case, the root) before landing on it. Starting on the sixth fret and sliding down chromatically to E creates tension and release, which is a common phrasing technique in Lydian that emphasizes the tonality.

What is hybrid picking and when should I use it in these Lydian arpeggios?

Hybrid picking combines pick and fingers to play notes – you use the pick for some notes and your middle or index finger for others. It’s especially useful in arpeggios where you’re moving between strings quickly, allowing you to add hammer-ons and pull-offs smoothly without repositioning your pick hand.

Why would I play sus4 arpeggios on the V chord (B major) when in E Lydian?

Playing sus4 arpeggios on the V chord (B) creates harmonic interest and color extension while staying within the Lydian tonality. Since E Lydian is derived from B major, using sus4 shapes on B reinforces that parent scale relationship while adding suspended tension that complements the characteristic raised 4th of Lydian mode.

Key Takeaway
In summary: Stack thirds from the third up to the nine, then reverse back to the root.
Daniel Weiss