hey guys, so I've always felt like this site gave me a lot of knowledge, specially when I was first starting out, so I figured I'd share some of my knowledge that has helped me and might help some of you guys as well.It's about Super imposition. This concept really helped me expand my playing, specially if you're stuck in a rut it can make you see the fretboard differently/approach thing differently. I'll give one example that way you get the idea and can apply it to your own stuff.

lets say the Lydian Mode:
the main interval that makes this mode sound "special" is the #4/#11
so a good way to bring that out with the shapes you already know is using this concept.

lets say C lydian/ CDEF#GAB

Example:
if someone's playing a C maj7 chord you can play:
-major7 arpeggio up a 5th in this case Gmaj7(GBDF#) Against that Cmaj you're hitting the 5,7,9,#11 using just a simple maj7 arpeggio !
-minor7b5 arpeggio up a b5/#4 in this case F#min7b5 (F#ACE) Against C maj you're hitting #4,6,R,3
-Dom7/Maj triad on the 2 in this case Ddom7 (D,F#,A,C) Against C maj you're hitting 2,#4,6,R

So basically what this is , it's just playing a chord/arpeggio with another chord to give you one big chord/tones.
you can Even play a Minor pentatonic on the Maj7 of the chord, in this case it'd be Bmin pentatonic.
Give those a try and it'll really open up your mind.
Hopefully this helps someone been wanting to do this for a while and finally got the time to !
cheers guys

I'll have to give this a shot - modes have always confused the hell out of me

Thanks \m/

Essentially stacking arpeggios! Also good info on using the B minor Penta (Phrygian position of C Lydian). Using your example of C Lydian. We can also use an E minor penta (Aeolian position of C Lydian) and an A minor penta here (Dorian position of C Lydian). Good stuff Enlo22!
Here is a backing track that can be used to explore of all of these possibilities. Rock on!

https://www.youtube.com/watch?v=_36Sq_tURjI


This post has been edited by AK Rich: Feb 24 2018, 09:30 PM