Escala de Re Lidia Dominante para Guitar
Escala de Guitar en afinación Double Drop D — diagrama de diapasón
Re Lidia Dominante en Double Drop D — Notas e Intervalos
La escala Lidia Dominante de D, también conocida como escala Acústica, suena brillante, peculiar y dominante al mismo tiempo. En Guitar, las notas son D, E, F#, G#, A, B, C. Se usa mucho en jazz y música de animación para improvisar sobre acordes dominantes que no resuelven de forma tradicional. Usada comúnmente en Jazz, Fusion, Blues, Film Scores. Entre los intérpretes destacados se encuentran Frank Zappa, Larry Carlton, Pat Metheny. Use over 7#11, 9#11 chords. Ideal for non-resolving dominant chords (the 'Simpsons chord'). Gives a sophisticated twist to blues progressions.
Notas: Re, Mi, Fa#, Sol#, La, Si, Do
Intervalos: 1P, 2M, 3M, 4A, 5P, 6M, 7m
Grados: 1 2 3 #4 5 6 b7
Fórmula: W-W-W-H-W-H-W
Número de notas: 7
Afinación: Double Drop D (D-A-D-G-B-D)
También conocido como: lydian b7, overtone
Acerca de la Afinación Double Drop D
Double Drop D tuning (D-A-D-G-B-D) lowers both the 6th and 1st strings from E to D, creating a symmetrical frame of D notes around the standard middle four strings. This gives a distinctly resonant, jangly character that has been beloved in folk-rock and acoustic music since the late 1960s.
Neil Young used Double Drop D extensively — 'Cinnamon Girl' features its distinctive droning riff, and 'The Needle and the Damage Done' showcases its intimate fingerpicking potential. Jimmy Page used it on Led Zeppelin's 'Going to California'. Fleetwood Mac's 'The Chain' also employs this tuning. Because only two strings change (both by just one whole step), Double Drop D is one of the easiest alternate tunings to learn — most standard chord shapes on the inner four strings remain unchanged.
Artistas destacados: Neil Young, Jimmy Page (Led Zeppelin), Fleetwood Mac, Crosby Stills Nash & Young
Ideal para: Folk-rock songwriting, D-centric acoustic arrangements, droning fingerpicking patterns, and any song that benefits from rich D-string resonance on both outer strings
Carácter Musical
Combines Lydian's floating brightness (#4) with Mixolydian's bluesy dominance (b7). The result is a scale that is both dreamy and grounded — bright without being sweet.
Progresiones de Acordes que Usan Esta Escala
- ii – bII7 – I (Tritone Substitution)Jazz / Soul — Mystery & Tension
- iv – ♭VII – I (Backdoor Cadence)Jazz / Soul — Soulful & Unexpected
Explorar Esta Escala en Otras Afinaciones
- Re Lidia Dominante en Afinación Estándar
- Re Lidia Dominante en Drop D
- Re Lidia Dominante en DADGAD
- Re Lidia Dominante en Open G
- Re Lidia Dominante en Baritone (B Standard)
- Re Lidia Dominante en 7-string
- Re Lidia Dominante en 8-string
- Re Lidia Dominante en Drop C
- Re Lidia Dominante en Drop B
- Re Lidia Dominante en Open D
- Re Lidia Dominante en Half Step Down
- Re Lidia Dominante en Open E
- Re Lidia Dominante en Open A
- Re Lidia Dominante en Open C