{"id":331,"date":"2019-01-30T02:21:30","date_gmt":"2019-01-30T05:21:30","guid":{"rendered":"http:\/\/serie20y20.com.ar\/tienda\/?post_type=product&p=331"},"modified":"2026-04-30T12:46:43","modified_gmt":"2026-04-30T15:46:43","slug":"guitar-lydian-b7-scale","status":"publish","type":"product","link":"https:\/\/www.serie20y20.com.ar\/nestor-crespo\/en\/product\/guitar-lydian-b7-scale\/","title":{"rendered":"GUITAR \/ Lydian b7 Scale (Routine Practice & Exercises of Improvisation)"},"content":{"rendered":"

Practical and dynamic work methodology for the self-taught student
\nas well as for the teacher in class<\/strong><\/p>\n

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Complete development of\u00a0Exercise 9<\/strong>\u00a0of the book:\u00a0Scales and Arpeggios.\u00a0<\/strong>(Author: Nestor Crespo)<\/em><\/p>\n

You are buying\u00a0(PDF 36 pages + 99,2 MB)\u00a0<\/strong>which contains:<\/p>\n

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OBJECTIVES AND PURPOSES<\/strong><\/p>\n

The purpose of this note is the intensive study of the Lidia b7 Scale<\/strong>, also called Lydian dominant<\/strong>, which is of significant importance not only for Substitute Dominants<\/strong> but also to obtain new sounds on any chord with a dominant function.<\/strong><\/p>\n

Normally we\u00a0focus<\/strong>\u00a0on the study of this or any scale by\u00a0memorizing<\/strong>\u00a0only the\u00a0different shapes up and down<\/strong>, but this way of studying is insufficient when we want to improvise or appreciate the color or texture it produces.<\/p>\n

That is why we are going to devote ourselves to develop the study of the\u00a05 shapes<\/strong>\u00a0through exercises in a practical and dynamic way including the corresponding\u00a0fingerings and bar repetition<\/strong>\u00a0in each case.<\/p>\n

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METHODOLOGY<\/strong><\/p>\n

Includes\u00a024 exercises<\/strong>\u00a0with full fingering, repetition bars and practice tracks<\/p>\n

\u00a0 \u00a0 \u00a0* Diatonic Order \u2013 Up and Down<\/strong>\u00a0( a \u2013 b )<\/em>\u00a0<\/strong><\/p>\n

\u00a0 \u00a0 \u00a0* Patterns 1 y 2<\/strong><\/p>\n

\u00a0 \u00a0 \u00a0* Thirds<\/strong>\u00a0( a \u2013 b \u2013 c \u2013 d )<\/em><\/p>\n

\u00a0 \u00a0 \u00a0* Fourths<\/strong>\u00a0( a \u2013 b \u2013 c \u2013 d )<\/em><\/p>\n

\u00a0 \u00a0 \u00a0* Sixths<\/strong>\u00a0( a \u2013 b \u2013 c \u2013 d )<\/em><\/p>\n

\u00a0 \u00a0 \u00a0*\u00a0<\/strong><\/em>Triads<\/strong>\u00a0( a \u2013 b \u2013 c \u2013 d )<\/em><\/p>\n

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BACKING TRACKS<\/strong><\/p>\n

It also includes\u00a018 Backing Tracks<\/strong>\u00a0corresponding to the exercise in a\u00a0modal playing<\/strong>\u00a0as well as,\u00a0different progressions<\/strong>\u00a0which will be very\u00a0useful to practice and affirm this concept.<\/strong><\/p>\n

* 6 Modal backing tracks in C7 & G7<\/strong>\u00a0(with strings and different musical styles)<\/em><\/p>\n

* 2\u00a0 Modal Backing Tracks<\/strong>\u00a0(with chord progressions)<\/em><\/p>\n

* 12 Backing Tracks<\/strong>\u00a0(with chord progressions in Major & Minor Mode)<\/em><\/p>\n

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For more information please contact to the author:\u00a0nestor.crespo@usa.net<\/a><\/span><\/p>\n

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Related Books<\/strong><\/h2>\n

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