Lydian Augmented Triad Pair - Melodic Minor Sounds You Want To Know

Lydian augmented is a great Melodic minor sound to use on Maj7 chords to shake things up a little. The Triad Pair approach helps with getting some modern angular sounding lines.
In this video I will go over some examples of how you can use it in a Modern Jazz context. The lines will rely on melodic minor, Quartal Harmony and arpeggios, super-imposed pentatonics and of course triad pairs
The PDF is available in the Patreon Facebook group.
Want to know more about Triad Pairs?
• Triad Pairs - Improvis...
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[@JensLarsen]

I really like how these triad pairs sound! Do you have a place where you use triad pairs a lot? 🙂

[@gregoryhart550]

Circle of 5th

[@WBUSCH49]

Of Course Major 7 that are not the Tonic...like for instance all the things you are Ab maj in the part that modulates to Cmaj7 than over Ab Bb thos tria pairs... and over Dom7 of course for instance over G7 Eb-Db Triads real standard or over G7octatonic: like E -Bb or G-Db triad pairs i like going inside and out a lot...on m7b5(IInd step) like Am7b5 for instance B- Cm or G-Am7b5 both without the 7 of course...Over G7 Ab-G etc...

[@sydrose13]

Barry Greene plays Ab triad and Bb triad over a D7 chord. I learned from Mark Levine that because melodic minor has no 'avoids' you can just play the full scale over any of its chords, triads and all!

[@claragary]

Thank you, great lesson👍!!

[@JensLarsen]

Glad you like it 🙂

[@UnseeingWorm]

Real nice with the triads' notes relation to the chord

[@JensLarsen]

Thank you!! 👍 Glad you appreciate that in there it 🙂

[@srwaite7]

More of these lessons, please 👌🏻

[@JensLarsen]

Haha! Sure That's easy to make :) What is it you like about the topic? (if you don't mind) maybe you idea of more of this is different from mine..

[@srwaite7]

Jens Larsen I’m a big fan of using triads for single note soloing so these lessons are great! Perhaps you could do something similar with harmonic minor triads 😀

[@JensLarsen]

Sure! I will keep that in mind. There is one really great triad pair in there, though in general melodic minor lends itself more to that type of lines somehow... Not really sure why!

[@mycloclo1958]

As always,Jens....a great share,a great lesson ! You’re a great teacher (& I’m a poor little guitarist !!!😉sniff😢)...Thank you good friend 👋😎🤙

[@JensLarsen]

Thanks Claude! Hang in there! All it takes is practice!

[@drewserafini1237]

Jens, I love the sound of this scale over a major7#5 chord, and I love the examples you give of its use. I would like to dig deeper into this concept and actually start using it in my solos. I've found that the best way to do that is by transcribing solos that contain examples of what I'm looking for. Can you give a few examples of modern jazz players who use the Lydian Augmented scale in this way? I think I've heard Metheny and maybe Rosenwinkel do it, but that's about it.

[@Pim3211]

This sound of that cadence hints at the gamecube startup sound

[@davejackson88]

great idea

[@JensLarsen]

+Marshall Dave Thank you Marshall! ☺️

[@anthonydemitre9392]

great video, I like one I call the Tunisia triad pair Ed - Dmin

[@JensLarsen]

Eb and Dm? That's indeed a fine one. What chord do you use it on?

[@anthonydemitre9392]

I made the exercise after trying to improvise on Night in Tunisia, I actually mixed the Eb7 and Dmin7 arp's to get used to playing N in T. at fast tempos, I should practice it again and look at other chords I can use it on if you have any suggestions they would be wecomed

[@anthonydemitre9392]

You can play that triad pair on a C-7th- F7th chord, sounds very much in, an A7th less in, must think and listen to it to find other chords it works over, maybe you've made a video on this pair?

[@JensLarsen]

Thanks Anthony! I didn't make a video on this pair (I think 🙂) The F7 application makes sense! Eb lydian and Am7b5 would as well.

[@WBUSCH49]

Okay Jens, thanks again I practised your idea in all keys. I came up with this idea, because I liked the stacked fourths and tritones(in Altered scale of course) a lot what do you think to augment it a bit like, and this meant the same as yopu played in 8ths...(it doesn;t realy change your idea...Bb Eb Ab(new)Eb Ab Db(yours)going out:D(highest tone) A Ab, and Db Gb B and yours again E Bb Ee, this is playable over the two bars, so this makes the cm7 als sound hip...and we have only to think of the altered scale during the II V...

[@JensLarsen]

That's great! Whatever you can make of it is really cool! I write them and then I play them for the video, for the rest I try to just have the concept in my playing more than the actual lick 🙂

[@omcho89]

Really great lesson Jens, thank you once again! I have one question though: when you play pentatonic from minor 3rd above altered chord, so in this video, Bb minor pentatonic over G7alt, do you think in that pentatonic shape/scale (ignoring G7alt notes, just thinking in pentatonics), or do you really think G7alt notes that you play with this scale? When I try to superimpose stuff on chord (scales, chord), from example E minor pentatonics over Cmaj7, I kind a switch to that shape, for sake of playing that sound over that chord, and then again turn back to regular Cmaj7 arpeggio/scale sound, something like that. Same goes for G7/Bb minor pentatonics I guess...

[@JensLarsen]

Thanks! That is not so strange, because you are playing that shape, but you do need to still hear it against the C root because that colors all the notes you are playing. So you need to see the shape but hear it over the G7 or Cmaj7

[@eternalrainbow-cj3iu]

Bbm is the II mode of Ab Melodic minor, and thus the 4rth mode of the altered scale, when you listen to John Scofield he Just plays Pentatonic bIII upon the Dominant so both ways work...it depends on how far do you want to go...altered scale is maybe a bit more difficult than melodic minor bII, and all the different modes are interesting to study, like jens did on Cmaj+5 Lydian augmented, III mode of Amelodic Minor...The more energy and positive attention you put in it the more you will be able to attain later on...

[@GERONIMO-oz3fw]

You going to have to change your name to the Iceman, because those runs are just "Too Cool"!!

[@JensLarsen]

+GERONIMO 2016 Haha! Thanks 😁

[@neerajbanyal1193]

Emin aug6 plz make lesson

[@JensLarsen]

Em7 as in Melodic minor?

[@Jamsville]

Woo!!!!

[@JensLarsen]

Thanks Adam!

[@anthonydemitre9392]

aha, CMaj and F#min. triad pair over C7th flat 5 flat9! it sounds OK.

[@JensLarsen]

True! That's a good one too! Diminished scale stuff!

[@Shuzies]

Beautiful.....rc

[@JensLarsen]

+Shuzies Thank you ☺️

[@Pablo.Degregori]

C+ / D

[@JensLarsen]

Yeah! I really like that one as well! 👍🙂

[@DThompson55]

I've been working this all afternoon and it still just sounds like random notes. Not going to give up though. Also, I don't see a single triad here let alone pairs of them? Again, not giving up.

[@DThompson55]

OK - so I get that the triad pair is E and F# dim. But doesn't F# dim include a D#? D# isn't in this scale? Or does this just the first three notes of the F#dim ? What happens to the D then? It's neither in the E nor the F# dim? Is it not played in this improv? SO confused... the 2nd note in your improve is F, but F isn't in the scale if the scale is defined by E and F#dim?

[@JensLarsen]

F# dim can also be a a triad: F# A C. This mostly sounds like you need to know your triads a bit better 🙂

[@DThompson55]

@@JensLarsen I got it all figured out. Thanks for your patience. F# A C and E Ab (G#) B, and there's a D in there, because really it's the A harmonic minor. And play that scale over the root which is C (E/C) which is really the 1 of the 2-5-1. And all of your lovely improv on the Dm and the GAlt are following those chords and are not playing the Lydian Aug Scale. And if any of that is correct, then I've learned something tonight.