lydianchromaticconcept.com

Converting to lydian is quite similar to Pat Martino's 'converting to minor' method. Have you ever seen that?

Goodrick's book takes a chord progression and shows it's interpretation through parallel , derivative , and LCC thinking. When you start asking why GR called it Lydian Diminished instead of Harmonic Major you have to take into account the advantages or disadvantages of these various choices.

Joey, Do you have the Advancing Guitarist? Starting on page 68 their several pages of examples where Goodrick is using some ideas from the Concept. You can call them other names too (chord substitutions, modal transpositions whatever floats your boat).

Mick Goodrick's Advancing Guitarist book contains some sane reflections on the LCC. Mick and George were friends and colleagues. Here is a quote from page 62(the underlining is mine): "I personally think that the most valuable aspect of the L.C.C. has to do with the way the author "looked ...

[quote="joegold"][quote="guitarjazz"]I'm not surprised that you mentioned Tell Me A Bedtime Story. Interestingly enough, George discussed this piece and analysed it in terms of HTG. I guess that would be a good one to discuss with Ben at a lesson. I think the bII is quite a rub, ...

That's an interesting observation.
I remember the super-arpeggio from the old Larry Carlton video. I like your twist on it. Mmm more things to chew on!

Joey, have you heard this?
http://www.youtube.com/watch?v=LCEw_04Ikuc

I'm not surprised that you mentioned Tell Me A Bedtime Story. Interestingly enough, George discussed this piece and analysed it in terms of HTG. I guess that would be a good one to discuss with Ben at a lesson. I think the bII is quite a rub, in a vertical sense, over PMG I Major. Not sure what you ...

Having heard George Russell play the Principal ChordModes at the piano I believe that his thinking was more based on his ears more than a slide rule. In the case of the troublesome bII, play an F major Principal ChordMode, now add a Gb. It certainly is a troublemaker. GR was concerned with vertical ...

Great post Chesper!
I've always thought that the melody to Goodbye Pork Pie Hat was a good example of Horizontal Tonal Gravity.

[quote="MokshaIs"]and as for the third of the trinity,Supra Vertical... What is one to make of the Supra Vertical?[/quote]
Think Coltrane playing lines based on Giant Steps changes over Impressions. Or the stuff Liebman played on On the Corner.

Yes, C major.

Yes but the way I think about HTG is just the key of the music. There are other factors but that one is easiest to grasp. Think of the melody to Stella. Even with all those chord changes the melody, with the exception of one note, stays within one major scale.

[quote="MokshaIs"]hello. Am I correct in thinking that the lydian tonics for Dm7 and G7 are F Lydian, and Cmaj7's lydian tonic is C lydian? Does this mean that any ii V I is in fact traversing between two centers of tonal gravity?[/quote] Yes, in relationship to Vertical Tonal Gravity. It ...

What are the Lydian tonics for Dm7 - G7 - Cmaj7 and how do they relate to the circle?