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I've been a fan of the Minor 7 #5 sound for years, probably from listening to so much Steely Dan growing up ;) Matoi nailed it when he said "When you start stacking fifths above a Tonic, as soon as you've included 4 fifths above it, you've got the material to build a m7+5 chord (on the III degr...

Cool stuff!!! Great analysis Nat!!! The only thing I don´t understand is where NatCom derives the tone B over the E dimished chord, the scale for me it would be: E-F#-G-A-Bb-C (instead of B you write)-Db-Eb in the spell of auxiliary dimished scale of E Lydian. If you're approaching the E dim as PMG...

Well, this thread is shaping up nicely :D Something I wanted to touch on (both Chesper and Fer hit on these ideas a bit) that I started to explore a long time ago: E dim 7 = E G Bb Db And an E dim 7 is ALSO = G dim 7, Bb dim 7, Db dim 7 SO, look at all of the choices I listed before for E dim 7, BUT...

Chesper got it right with (in regard to dim as PMG I or PMG VI of Lyd Dim) "this is just saying that Lydian Dim is the most ingoing scale in a vertical sense, it's not saying that it is the right scale for every musical situation that contains a dim chord". For me, the two big things that ...

"So, would it be accurate to state that, in general, one can substitute a chord for any other as long as the two are vertically aligned?" Absolutely. When a single voicing can be interpreted as so many different PMG's (and we haven't even touched on AMG, CMG, etc - a whole different ball ...

No prob! As a guitar player, I love the 4-note voicing stuff becuase I can use a single fingering so many different ways. If I have a voicing like (low to high) F#-C-E-B, played on the 4 thinnest strings, I can sub all kinds of bass notes to get multiple PMGs and more. This voicing with C on the bot...

Thanks! Never would have written it without the LCC. I'm a "results" kind of guy, and for someone who tends to hate my own writing, I actually like that one - so, thanks GR!

"Before studying Zen, mountains are just mountains, and water is just water. When studying Zen for the first time, mountains are no longer mountains, and water is no longer water. After studying Zen longer, mountains are just mountains, and water is just water." I think ML hit the nail on ...

Wow, thanks ML I can send you a lead sheet for the tune if you want one.

C Whole Tone (C D E F# G# Bb C) over A minor is certianly a cool "color" and one that I've used quite a bit after working with the LCC for a while. Like Joe said, it's similar to A Mel Min but with a b2 and no root. Back in the old forum, Dogbite had termed this type of application as an &...

Here are some of the other "interesting" things I ran across with chord subs (a lot of this was inspired by Mick Goodrick, gotta give him credit) In the last post I mentioned the idea of taking a PMG I voicing like C E F# B and using it as D 13 (II), E min 9 #5 (III), F# min 11 b5 (+IV), A...

The first thing I did with chord subs was to build a 4 note voicing from one scale and then use it in as many "functions" as I could find. Like, C Maj 7 b5 (as PMG I, voiced low-to-high as C E F# B) can also be D 13 (II), E min 9 #5 (III), F# min 11 b5 (+IV), Ab 7 #5 #9 (+V), A min 13 (VI)...

Oops - typo on line 6, should be

| D min9 D min9/A | G 13/Ab Bb 13/B | C min11 B7 b5 | Bb min11 A 7 b5 |

Here are the changes: || Ab Maj13#11 | Db 9#11 | Eb Maj9 C min9 | F 13/Gb | | F min9 | Bb 13/B | Eb 6/9 C 7#9 | Bb min 11 A7 b5 | | Ab Maj13#11 | G7#5 | C min9 C min9/G | F 13/Gb Ab 13/A | | Ab 6 Ab 6/C | Bb 7#5b9 | Eb Maj9 | E min7b5 A7 #5 || | D min9 D min9/A | G 13/Ab | G min9 C 13/Db | F Maj9 E ...

It's been a LONG time since I posted here, although I read the threads all of the time. I use to post like crazy in the old forum, just been short on time recently. Here's the first tune I wrote using LCC inspired ideas. I started with a fairly basic sketch of chords and then found some "flaovr...