JAZZ
The Lydian
7 Scale
BY JOE ELLIOTT
Improvising Jazz Lines Over Non-Functioning Dominant 7th Chords
Dominant 7th chords are dominant chords that resolve to their respective I chord. In this lesson we’ll take a look at the other type of dominants:
non-functioning.
When a dominant chord does not resolve to its I chord, the harmony doesn’t act the way we expect. Therefore, the scale choice for a non-functioning should not be one that sets up expectations of a I chord. We need a scale choice that will not make the listener feel that the I chord is
coming; that scale is the Lydian
7 scale. Its formula is 1–2– 3–#4–5– 6–
7. Notice that all four tones of the dominant 7th are present: 1, 3, 5, and
7.
Helpful Hint
Try looking at scales as arpeggios with notes in between chord tones. Notice that the 2nd (9th) is between 1 and 3,
the #4th (#11) is between 3 and 5, and the 6th (13th) is between 5 and
7.
What is it about the Lydian
7 scale that softens the strong attraction to the I chord? The #11. The #11 is a “disorienting tone” that seems to give
the entire Lydian
7 scale an ambiguous effect.
The Melodic Minor Connection
The modes of the melodic minor scale are more useful than the scale itself for use as chord scales over different chords. The seventh mode of the
melodic minor scale is also known as the altered scale or the Super Locrian. The sixth mode of melodic minor is identical to the Locrian #2 scale. In
this lesson we’ll find another melodic minor connection in relation to the Lydian
7 scale.
Here are the notes of the G Lydian
7 scale.
And here are the notes of a D melodic minor scale.
