The first idea is to join two different scales together.
Here we have the Lydian Dominant scale joined at the octave by the “SAME” tonic note C. It is joined by/with the Enigmatic scale.
Notice the smooth transition of the two different scales into one extended multi octave scale.
Here is a two octave version of the Lydian dominant and Enigmatic scale [Multi octave scale] with Guitar Tablature.
Here are 3 Lick Lines made from the extended Lydian Dom/Enigmatic scale
Scale Lick 1 [Superimposition]
Scale Lick 2: Chord to Scale
Scale Lick 3: Superimposition
SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier idea for a never ending scale. Each Lydian Tetrachord Resolves into the next one. This in turn seems to go on forever as it goes around the cycle of 5ths.
Also: Notice that unlike the first extended scale this one doesn’t have a common tone at the octave. So we go from C to C# to D# etc
SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar with Tablature
Here is a long piano version of the above that keeps ascending
This scale concept could also be looked at as being Mixolydian and a ModulatingScale.
We have A7-D E7-A B7-E F#7-B C#7-F# etc.
V-1 V-1 V-1 V-1 ETC.
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Clifford Martin is a trained classical musician and composer. His 1st study being piano and composition and a deep study into the meticulous world of modern music theory. He also studied jazz piano and jazz drums privately.
Clifford later came back to the guitar and studied in the jazz fusion style of John McLaughlin and Al di Meola. It was at this point that he put all of his years of learning together into one musical form
This website is a sort of cataloging of ideas and musical concepts for exploitation and development in the arts of musical composition and improvisation. What started out as a jazz improvisation site has grown into a full blown, harmony, timbre, pitch and rhythm library. Peace, Enjoy!
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Fun!
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