Package leaflet · Information for the musician · Scale
G Lydian Dominant Scale
Bright, bluesy and modern. A dominant sound with a raised fourth that gives it a shimmering, slightly unexpected lift.
- 7 notes
- 1 ♯
- jazz
1Composition: what it contains
G – A – B – C♯ – D – E – F
- Formula
- 1 2 3 ♯4 5 6 ♭7
- Steps
- W – W – W – H – W – H – W
- Number of notes
- 7
- Sharps and flats
- 1 ♯
- Also called
- Lydian ♭7, overtone scale, acoustic scale, Mixolydian ♯4, fourth mode of melodic minor
| Degree | Note | Interval | Semitones |
|---|---|---|---|
| 1 | G | unison | 0 |
| 2 | A | major second | 2 |
| 3 | B | major third | 4 |
| ♯4 | C♯ | augmented fourth | 6 |
| 5 | D | perfect fifth | 7 |
| 6 | E | major sixth | 9 |
| ♭7 | F | minor seventh | 10 |
2Appearance: diagrams and sound
Tip: click any note, key or fret to hear it. Orange = root.
3Indications: what it is used for
The fourth mode of the melodic minor scale (1-2-3-♯4-5-6-♭7). Use it over dominant seventh chords with a ♯11 (7♯11, 9♯11, 13♯11), especially non-resolving dominants: the ♭VII7 in a minor or major key, the II7 chord, tritone substitutions (♭II7 resolving to I) and the IV7 chord in a blues. It suits jazz, fusion, Brazilian music and cartoon or film scores. Its first notes closely follow the harmonic series, which is why it sounds natural despite the ♯4.
4Dosage: how to practise it
Ten minutes daily at 70–110 BPM over a 7♯11 chord vamp. Play the scale in thirds and in four-note groups, and practise the triad pair built on degrees 1 and 2 (a major triad and the major triad a whole step above). On guitar, learn three-notes-per-string patterns. On piano, voice the chord as 1-3-♭7 in the left hand with 9 and ♯11 on top. Practise tritone-substitution ii–♭II7–I progressions, using this scale on the substitute dominant.
5Warnings and common mistakes
Do not use it over a dominant chord with a sus4 or a plain 4 in the melody: the ♯4 will clash. When the dominant resolves strongly to a minor chord, altered or phrygian dominant scales usually fit better. Do not confuse it with Lydian (major seventh) or Mixolydian (natural fourth). Spell the raised fourth as ♯4/♯11, not ♭5, because the fifth is still present.
6Interactions with chords, scales and keys
Chords of the scale (triads)
| Degree | Chord | Notes | Listen |
|---|---|---|---|
| I | G | G – B – D | |
| II | A | A – C♯ – E | |
| iii° | Bdim | B – D – F | |
| ♯iv° | C♯dim | C♯ – E – G | |
| v | Dm | D – F – A | |
| vi | Em | E – G – B | |
| ♭VII+ | Faug | F – A – C♯ |
Chords of the scale (seventh chords)
| Degree | Chord | Notes | Listen |
|---|---|---|---|
| I7 | G7 | G – B – D – F | |
| II7 | A7 | A – C♯ – E – G | |
| iiiø7 | Bm7♭5 | B – D – F – A | |
| ♯ivø7 | C♯m7♭5 | C♯ – E – G – B | |
| v(maj7) | Dm(maj7) | D – F – A – C♯ | |
| vi7 | Em7 | E – G – B – D | |
| ♭VII+maj7 | F+maj7 | F – A – C♯ – E |
Same notes, different starting point
7Other presentations available
The same scale from every note
- C Lydian Dominant Scale
- D flat Lydian Dominant Scale
- D Lydian Dominant Scale
- E flat Lydian Dominant Scale
- E Lydian Dominant Scale
- F Lydian Dominant Scale
- F sharp Lydian Dominant Scale
- A flat Lydian Dominant Scale
- A Lydian Dominant Scale
- B flat Lydian Dominant Scale
- B Lydian Dominant Scale
Other scales from the same note
- G Major Scale
- G Natural Minor Scale
- G Harmonic Minor Scale
- G Melodic Minor Scale
- G Dorian Mode
- G Phrygian Mode
- G Lydian Mode
- G Mixolydian Mode
- G Locrian Mode
- G Major Pentatonic Scale
- G Minor Pentatonic Scale
- G Blues Scale
- G Major Blues Scale
- G Whole Tone Scale
- G Half-Whole Diminished Scale
- G Whole-Half Diminished Scale
- G Phrygian Dominant Scale
- G Hungarian Minor Scale
- G Altered Scale
- G Double Harmonic Major Scale
- G Bebop Dominant Scale
Read this leaflet carefully before playing. Keep it near your instrument. Free to use, print and share for personal and educational use.