Lydian clouds for your slow attack pad

Hey folks, I’m so sorry for this long gap between posts again. There’s a ton of stuff going on — I’m preparing the piano sheet music book for my EP, editing the videos and just mindlessly cycling around the town (which should, of course, also be considered an important activity) — long story short, I just can’t carve out the time to sit down and share some quality material here (although believe me I have a fuckton of it in the queue). Did I just use “fuck” and “quality material” in the same sentence? 🤔 Anyway! This time is going to be a quick modal workout that I’ve recently used, and as soon as I’m done with my release, I promise I’ll get back with a fat post on descending motion I’ve been wanting to share with you all for a long time. But today, let’s talk about Lydian clouds!

What? Yes, this:

 

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So what’s going on here? All I’m doing is layering the incomplete Lydian scale runs with the degrees of the 3rd degree of the same scale (iii7 in this case) played in triad and rootless jazz voicing (in this example it’s 7-3-5). Lydian is one of the favourite modes of jazz composers — unsurprisingly, because of its more-major-than-major quality that’s coming from the II7 and V∆ degrees. I personally like it a lot and use it very often in my compositions.

This exercise — as pretty much every other in this blog — helps you achieve several goals: memorise the scale degrees and understand how they define the mode’s nature. Plus — the whole figure creates a very obscure sound that could be easily used as an accompaniment device. Done with iii7? Pick another degree!

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Same idea: Lydian scale from root to 6th in the left hand, Lydian V∆7 in the right. The beauty of it is that you can also adjust several things as you go to avoid getting bored: for example, play different degrees each time or change the scale range you cover with your left hand. Here’s an example:

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I might say that I’ve intentionally left it you to figure out what degrees I was using in each bar, but I’ll be honest and admit that I just forgot to mark them in the sheet music 😄 So, go figure! 🤓

That’s it for today — I hope it was not too boring and too jazzy or too Lydian or — insert your term for something that feels a bit too lazy — but let’s just call it slow attack pad routine. Jokes aside — you might wanna try it on your favourite Serum or Omnisphere pad instead of the piano — you won’t be disappointed! Okay, going back to my release prep business — talk to you later!

Practice session: lost in dissonances, rescued by Lydian sweetness

Scale studies

  • All Hm1 scales
  • All Hm1 scales, focus on descending motion
  • Accidentals jam (Dorian scales in all keys) — must confess that this exercise does not really apply well to anything other than harmonic minor 😕

  • Scale dissection: C, F, Bb Lydian over moving major 7th arpeggio in groups of 3
  • Scale dissection: C, F, Bb & Eb Lydian over arpeggiated scale degrees in groups of 3

Here’s what I mean:

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Surprisingly, it’s slightly easier to play than over the moving root arpeggio (because you don’t have to think about inversions all the time and simply go up the scale degrees) — and it sounds much better. Especially in sweet Lydian mode 🍭 Might get tricky in keys with a lot of accidentals though.

Jazz voicings + left hand

  • iim9 — V13 — I∆9 — IV∆ | iiø — V7b9 — m9 in C thru A, descending broken 10ths with the left hand

Session timing: 2h

Piano day (1h 40m)

Scale studies

  • All Lydian scales
  • All Ionian scales
  • Scale dissection: C#, F#, A Phrygian over moving minor arpeggios

Left hand + comping

Interpretation

  • The Beatles — All My Loving (variation #2)
    • LH: broken 10ths (alternating ascending & descending)
    • Chromatic side-slipping (found in Dan Harle’s Jazz Improvisation for Keyboard Players)
    • Gershwin reversed stride bass
    • RH: arpeggiated shells, voice leading

Next time focus

  • Locrian + Mixolydian week
  • Try chromatic side-slipping in right hand as well
  • Back to embellished ii — V — i’s
  • Next left hand pattern
  • Scale dissection over permutations — attempt #2 😄

Practice session: permutations and more Gershwin studies

Scale studies

  • All Lydian scales
  • All Ionian scales
  • Scale dissection: Ab Lydian over Ab∆7 moving arpeggios in groups of two
  • Scale dissection: F# Dorian over F#m7 moving arpeggios in groups of three
  • Scale dissection #2: F# Dorian in groups of three over F#m7 regrouped arpeggios
  • Scale dissection #3: F# Dorian in groups of three over all F#m7 inversions in 1-3-5-7 permutations (several slow passes, but couldn’t really play it fluently)

Left hand

  • Gershwin reversed stride bass (#14 from Jazz Piano: The Left Hand)
    • Original chord progression (dominant descent over the cycle of 4ths from F#, in fact 🤓)
    • Minor variation
      • Only reversed stride in 3-7 → R | 7-10 → R pattern
      • Reversed stride + broken 10ths + block triads up the octave (sounds super dope 🔥)
  • Descending 10ths in a free jam: focus on 10-5 movement

Improvisation

  • Major blues scale around the cycle (quick recap)

Session timing: 2h 30m

Observations

Variations are great! It definitely is much more inspiring an empowering than simply learning the piece from sheet music and finally reading it without any errors. Understanding the logic behind the particular composition and the techniques that are used in it — and then being able to freely play your variation of it in which one can still recognise the original — this is extremely satisfying.

Piano practice (1h 45m)

Scale studies

  • All Lydian scales
  • All Ionian scales
  • C, F, Bb Lydian in grand form
  • All Lydian scales over moving Lydian DNA
  • Dissecting Phrygian scales over arpeggiated inversions (E, A, D, G) — sheet music link coming soon

Jazz voicings + left hand

  • iim9 — V13 — I∆9 | iiø — V7b9 — im9 (format 2) from Jazz Piano Voicings (C thru F#). Left hand:
    • Blocks
    • 10ths + octave blocks + b7-1-5 run on iiø

Improvisation

  • Minor blues scale — quick recap in all keys

Piano day (1h 45m)

Scale studies

Left hand + jazz voicings

  • iim9 — V13 — I∆9 | iiø — V7b9 — im9 (format 2) — skill 45 from Jazz Piano Voicings by Dan Haerle (C thru F#). Left hand:
    • 1-5 shells
    • 1-5-6 runs
    • Broken 10ths (ascending on major part, descending on parallel minor)
    • 1-5-10 + blocks octave above
  • 10ths w/o clashes going up and down, focusing on with 2-octave leaps at range switches (e. g. Gb — B 8vb)

Piano day (1h 40m)

Technique

  • Transposing Hanon (3 random exercises from Book 1) to F & Bb major

Modal studies + left hand

Rhythmic studies + hand independency + modal studies

  • Moving accents + scale runs (Dorian C thru Eb)
  • Mixolydian scales
    • I7 chord apreggiated with LH
    • Scale runs + articulated b7, 5 and octave with RH