When studying diminished scales, one of the most interesting concepts that you can explore is the use of both Dim7 and dominant 7th arpeggios through this scale.. Because you can solo over Dim7 chords with the diminished scale, it is no surprise that you can use Dim7 arpeggios built from this scale. The scale may be thought of as a major scale with an augmented fourth and fifth, or as the relative to the melodic minor ascending scale (C Lydian augmented and A melodic minor ascending share the same notes). Scales and Modes of George Russell's… If you aren’t taking advantage of how floaty and positive this mode can … A question (or two): What would be the most natural scale to play over a CMaj7? Many theorists of the period observed that B♭ is used more typically than B♮ in compositions in Lydian mode (Powers 2001). Study Notes:+ Lydian Diminished Scale+ (Lydian b3 Mode)+ Scale into Chord: Cmmaj13(#11)+ Tempo: d=100+ N. Slonimsky - Thesaurus Ref Number: 1065+ C, D, Eb, F#, G, A, B, C------------Modes of Harmonic Major Scale:1st Mode: Ionian b6 Mode2nd Mode: Dorian b5 Mode3rd Mode: Phrygian b4 Mode4th Mode: LYDIAN DIMINISHED MODE5th Mode: Mixolydian b9 Mode6th Mode: Augmented Lydian #9 Mode7th Mode: Locrian bb7 Mode -------------Chords:CmDEb+F#°GAm(b5)BmChord Extensions:Cmmaj7(#11)D13(b9)Ebmaj7#5F#°7Gmaj7Am7b5Bm7------------① = index finger ② = middle finger ③ = ring finger ④ = little finger The Diminished Scale is also referred to as the Whole-half Diminished Scale since it is constructed by every second whole and half steps (notice also that it is a symmetrical scale). It sort of worked in measure 5, but something seemed off. Modal jazz foundation via the Lydian chromatic conceptual movement of tala shifting in gravity. Instead, George Russell came up with his own theory which he called the Lydian Chromatic Concept of Tonal Organisation. Diminished Scale 22. References: 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. This scale is sometimes known as "Lydian Diminished", but that name more commonly applies to Scale 1741. Augmented Triads The Lydian scale can be described as a major scale with the fourth scale degree raised a semitone, making it an augmented fourth above the tonic, e.g., an F-major scale with a B♮ rather than B♭. n.d.), String Quartet No. This means that a diminished scale can potentially fit both a majorand a minor chord with the same root. 2: The Police. What scale would most perfectly capture the “sound” of a CMaj7? As we recruit notes further to the end of the Lydian Chromatic Order of Tonal Gravity the tone order increases. See diagrams at Standard Guitar. The name Lydian refers to the ancient kingdom of Lydia in Anatolia. By organizing it into major triads with an added raised 4th, you can create a Major Lydian tonality that moves in a symmetrical manner. 3 (1951–54). But the Lydian Chromatic Concept is just a different way of allocating ‘correct’ scales to a particular chord. Thus the Lydian Chromatic Scale and all its derivatives contain only Pythagorean intervals. Scale 1741: "Lydian Diminished" This scale is named Lydian Diminished, because it incorporates a fully diminished seventh chord within it. The fourth tonal degree is the basis for organizing the subdominant function so its alteration severely limits the usage of the subdominant group of chords, largely due to the fact that the triad rooted in the fourth degree is a diminished chord. By organizing it into major triads with an added raised 4th, you can create a Major Lydian tonality that moves in a symmetrical manner. 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