WORKSHOP Rock ROCK MUTATIONS IV ~THE LYDIAN #2 ONTHECD | —_Judicious use of this weird-sounding scale could inject Tacisai2g@5 2 touch of Zappa into your major-key soloing ROCK MUTATIONS IV THE LYDIAN #2 Shaan “If youre trying to guess where you might use any given scale, first look at the odd- numbered notes.” same wth he ey you're plang in es (Teter! 508) stl a quick eautonary note, n terms of rock simple one: of advised chee of ear fama up of ats wl of 0 ‘ 76 Our Techs sure 202sd they ive us a reference pont when wee ein to Alserbe other sales ‘This isnot oly the most obsous group of notes to use lover amor ohond alo the sour of ax other modes, which you generate by treating each noe in tun a5 the root Lok atthe following chart ofthe modes and try ta see how it works: openly youl se how the numbers show the laerence between each rode in terms of how they Sound. (For instance, the second note of the lors mode is described as a2" because it only a serutone above the eet note, wheres the parent major scale te second note i whole tone abote the root) Each ofthese modes works vera dierent kind of chord progression and has a distinctive “favour” of its opm ~ you might have heard the dein described as “az for stance ‘These modes account for a bage proportion of what youhear on the radio, but thee not the whole story Onee you understand the general principe, you could neta ea start wath something other than the major Seale, and generate modes from that starting point. The reat wll tend to sound weirder than the modes Usted hore but fr the purposes ofthis column I thik we have to ew tht aa good thin! ‘THE LYDIAN,7 ‘To understand where ths mode came fom, we have to fm othe Harmonie Nino sce, ch you might econ from cassia favourites sch at Bach ‘oocata And Fugue! ts corstucted with the following patter of eral Dee a ane ae Te aD and would therefore be descibed with this fora, HE ‘The most obvious ference here isthe “T/2" interval, which constitutes a gup of thee whole fest It soute curious, you might want to gure cut the formulae forall he harmo minor meses, for now ll you ‘ed to Sow is that the Lian #2 s the mode you get ‘whan you take the sist note of the harnonle minor a5 Sour root ote. Inthe key of E, you'd et hese nots: Aa OE GH AB DR nit panic! “Fs an“F double # andi sounds exactly the sme asthe note Gat sus that when nus thea bls describe a eae, the keto use each leter of the salar alphabet once and nee oly! I you's tying to uss where you might use ay _gen sale, the fest thing you shoud dos look atthe fokd-runbered notes, because these are the ones yOu find inthe most common chord types. n this particular ‘ase, youl spot tat the B, G8 and B ates (1,3, 9) ruake up an E major chord, and adding D8 (7) othe note pool ives you an Emu. This means that you could the the iin #2 ever hose tao app Sounding cords and create a curiously ext effect. vthout plang 3 single “wrong” note Here abst fal the most cious chords you an create using these seven notes you wanted to write a progression table fr B Lyjalan #2 appbeatons, youd tart with E and then ty changing to one of the above cords. On the GTCD bucking rk, Ive seed a to-chord vamp to bring ast mote ofthe dstinetive character ofthe Lydian #2. Ths You have two bats of DA (a“slaah chord" ~ play a fonmal D¥ chord and add an E noe inthe bas) followed byrtwo bars of common-or garden E major. Over a Ducking ike ts, the ican 2s aetoaly the most “correct” seal you could se, so stening tothe coed progression ia ood way to falas youself with the ay the sale sous, ‘Don woery fo fee! aenate bal hs theory why not just pie one ofthe suggested sale fingerings land uy the nots out over the CD wack? Happy weirdness! sun 2m Gui Tats 77 INASSOCIATION WITH wnashounclsWORKSHOP a = - 101485 500800 m>oaem — m>ooemN m™>ooem w m>ooem a mpooem an mpogem om m>goom 4 12 ot evng es! ST - T om ee Se eee 78 Ghia ehiques sure 202Fire Due fae 0, S260 | 80 10 a] a AS11519 15-1181 1616 16-| 10-15 1610} ——$15 16 — sumer 02 Gtr Techies 79Reson eae eabuce co co _co Hii 37 Thats thats 80 Guta Tduiques summer 20m