lydianchromaticconcept.com

Forgive me if someone has mentioned this: the harmonic minor is considered a horizontal scale in the LCC. If you think about it, a harmonic minor sounds great resolving to a minor tonic station but wouldn't be the best choice, or my best choice once I arrived there.

I haven't checked your work against the chart. There is a lot of redundancy especially when dealing with the aux scales. When I think of C7 I think mostly of of Bb Lydian, Db lydian, and E lydian. There are other ways to expand on this, inside and outside the Concept , no pun intended.

joegold wrote:19 views and no comments.
Hmm.

George used to always say that they Concept gives you lots of possibilities!

[quote="DroneDaily"]If anybody is interested in having him join the forum, i would recommend sending him an email, i don't think he's aware of it. with his credentials, there is no doubt that he could offer a lot. His music kicks ass too. http://hirohonshuku.com/contact[/quote] Drone....pl...

There is a Goodrick quote in the first post of this thread. In the book there are several examples of chord changes with comparisons between different concepts for dealing with them. This section is followed by several pages of examples of 'Uses of Cmaj7, uses of a Cmaj7b5, and uses of a Cmaj7+5...t...

He's welcome to join the fray. I don't think his 'avoid note' concept jives with the LCC. That reminds of the story about Bill Frisell deliberately focusing in on all the avoid notes while at Berklee. I think he made a pretty good career out of them too.

joegold wrote:"
They're very smooth sounding and *harmonious*/restful.

The guy that told me about the Just Intonation book describe them as 'sad..they just sit there'. I don't think he meant that in a derogatory way, more like an impression.

They (the other 11 notes) all relate to the A Lydian Chromatic Scale. And yet...

I have a feeling that the Dog, being the expert cipherer, knows the difference between an ET fifth and and a pure fifth. BTW I played a gig about six weeks ago with a pianist who did much of the arranging on Gaucho and quite a few other sides. He told me about an interesting book, The Just Intonatio...

BACKGROUND: Years ago I was part of an experimental ensemble at the Metropolitan Arts Complex in Detroit. One member suggested that we do sound experiments based on George Russell's Tonal Gravity. What I will be doing here is recreating one such sound experiment. Given that tonal gravity is the spe...

joegold wrote:Well sure.
*Anything* can reconciled by the LCC (assuming that one buys into its validity) because ultimately it's just the chromatic scale.

Very true. I think it's validity is to be judged by whether or not you find it useful.

Martino's 'converting to minor' mental process is very similar to the thought process one uses when dealing with Vertical Tonal Gravity in the LCC. The LCC has more possibilities but the basic idea is similar. I wasn't really trying to reconcile anything with anything else but if I was, I'd say that...

[quote]IMO The musicians of today are far too casual in their usage of the term "diatonic". It does have a much more specific definition that most musicians are unaware of.[/quote][color=blue][/color] Gary Campbell( who taught Michael Brecker his practice routine, http://www.garycampbellja...

[quote]For Cm, with an LT on Eb, the Eb lyd aux aug scale would be: Eb F G A B Db Eb No C in that scale.[/quote] And that's why I like it. Of course, there are only two whole-tone scales. The one with the Lydian Tonic can be reconciled with the chord. The other one is more out-going. There is a grea...

[quote] In the LCC, on PMG VI chords the root of the chord is not a component of the lyd aux dim or the lyd aux dim blues scales. No?[/quote] The root the chord is a component of both those scale. So for a Cmin chord using Eb aux dim the notes would be CDEbFGbG#AB Using the Eb aux dim blues it'd be ...