Watch the Fuzy Lydian-Loader 2 online guitar lesson by Chris Buono from Juiced Blues
"At the heart of Fuzy the Lydian-Loader are three elements: Fuze, the Lydian Dominant scale and the Miles Davis penned "Freddie the Freeloader"". Considering you can get your Fuze fix by visiting his website (or for the full Monty--enrolling at Berklee!), that leaves us with the latter two elements to chew on. Let's focus our attention on the second component, shall we?
The Lydian Dominant scale--AKA Lydian b7 or Mixolydian #4--is a melodic minor mode built from the 4th degree of the parent scale. For instance, the C melodic minor series would breed F Lydian Dominant. The scale formula is as follows: 1 2 3 #4 5 6 b7. Assuming you're familiar with modal theory and interpreting scale formulae you can understand the derivative names for the scale as well as determine it's applications. For our purposes, the most significant attribute to this scale is the dom7 leanings. Check it out: The 1 3 5 b7 degrees of the scale bears a dom7 arpeggio making it perfect for playing over dominant harmony where you want to throw a curve ball without too much controversy. The lack of hullabaloo is secured in the fact there's only one note different from a more inside Mixolydian formula (also utilized in this solo in bar 10), which is the #4. Speaking of, that scale degree makes up half of the pair of tritone intervals in the Lydian Dominant (the second is between the 3rd and b7th degrees). That's right, there's not one, but two deliciously raunchy b5 intervals built into the melodic minor system making it all the more intriguing. As always the tritone defines the scale and in this case it's the position of both pairs that makes the Lydian Dominant scale so cool (wait 'til you see how it comes into play harmonically).
As you play through this solo take some extra time to really nail those 1/4-step inflections. These essential juiced moves give this solo it's sass and will be sorely missed if you cut that from the phrasing. These types of subtle nuances, regardless of melodic content, will further juice your lines in a very cool way.
Yet another juiced building block to always watch out for is approaching convention with unconventional approaches. Let me explain -
For instance check out bar 3 at the upbeat of beat 4 where a 14th fret whole step bend from A to B rolls into a unison 12th fret B on the 2nd string and 12th fret E on the 1st string only to make a mercury-like grace note slide to a unison E back on the 2nd string, 17th fret. Text book stuff, right? Sure, but watch how it's performed, listen to how it's phrased and check out where it goes after the slide. Between the hybrid picking, the 1/4-step pulls and of course the Lydian Dominant aspect that rings loud and clear after the initial intro part already described you have a completely hip sounding line that could have easily been passé otherwise. To add, watch how many times this seemingly traditional motif is employed, but at every turn is juiced nonetheless. I mean, c'mon, did you think it wouldn't be?
While the first 8 bars toggle from the E (bars 1-4) to A (bars 5-6) Lydian Dominant scales back to E (bars 7-8), the tides turn once you round the corner to bar 9 and hit the turnaround. At this juncture a new juiced superimposition is introduced where a D minor pentatonic scale is juxtaposed over a B7 making this five-note mainstay be heard as an abbreviated Altered Dominant scale! This superimposition gives you an easy way to get this very hip sound across (hold that thought). For the uninitiated the Altered Dominant scale--AKA Super Locrian (terrible name, don't use it) or Diminished Wholetone scale (much better alternative)--is a melodic minor mode built upon the 7th degree of the parent scale. So, from C melodic minor you get a B Altered Dominant scale. Unlike any other melodic minor mode the degrees in the Altered Dominant scale are at times accessed enharmonically as well as called out by extension, like this: 1 b9 #9 3 b5/#11 #5/b13 b7. This is contrary to the scale formula being spelled 1 b2 b3 b4 b5 b6 b7 (hence the Super Locrian assignment) to best facilitate its inherent worth, which I'll explain next. Taking a look at the first spelling you'll see a 1 3 b7 nested in there, which is the backbone of any dom7 chord. Consider the remaining four notes and you have a super-charged heptatonic platform to play over any altered dominant chord (hence the more appropriate name, Altered Dominant). Going back to the D minor pentatonic scale, played over a B7 you get these tonalities: D (#9), F (b5/#11), G (#5/b13), A (b7), C (b9). That's every altered tone!
Though the 3rd of the dom7 chord you're playing over is not present, this is still very effective. This is attributed to one simple fact you must keep in mind when playing outside ideas. That is, whatever you play should be able to stand on its own if were not played over harmony that makes your line sound outside. If what you're playing is too out for everyone but Cecil Taylor, chances are you'll lose your audience. Since the superimposition is relying on the tried-and-true minor pentatonic scale--a scale just about anyone can coax a great lick from--it's basically a home run without much effort.
Keeping in line with keeping your audience it's always a good idea to throw them an 'inside' bone when riding the outside wave. That's why in bar 10 over the A7 chord you get a stock A Mixolydian based lick. This is not to say you can't juice that in some way. Just check out the 16th note triplets (played with hybrid picking for extra snap phrasing) and how they throw a cool rhythmic curve ball into the mix.
Rounding out the changes at bars 11 and 12 is the Freddie Freeloader signature bVII7 chord. It is this chord Miles almost consistently played Lydian Dominant ideas in his solo on the original recording of Freddie heard on the seminal Kind of Blue record (if you don't have that you're missing out to a degree I can't put into words). It is here I first heard this sound and as you can tell, it had a profound effect on me. I was and still am hooked!"