+5 MA 7

The main body of the LCC and its practical application, including all 4 published versions of Book 1 with their inserts: the 1959 tan cover; the 1959 light green cover Japanese edition; the 1970‘s white cover, which adds an illustrated River Trip to the 1959 edition, and the currently available Fourth Edition, 2001.

The authorization code is the first word on Page 198 of the Fourth Edition of the LCCTO.

Moderators: bobappleton, sandywilliams

Forum rules
An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice
Post Reply
chespernevins
Posts: 368
Joined: Sat Sep 16, 2006 7:34 am

+5 MA 7

Post by chespernevins »

To preface my question, here's something I posted to the AAJ:

Hey Ed and all,
B+MA7: Does R expore (explain) this in LCC? I'm curious as to what LCC suggests as "inside" pcs on this chord-type.
The most inside point of view on the B+MA7 would be to put the B on the first degree of the B "Lydian Chromatic Scale". Then the primary color would be B Lydian Augmented:

B C# D# F G G# A#

Other related 9 tone order notes would F# and D. And a little further out would be A.
Improvising on B+MA7 using the Bb Major scale--or the Bb Pentatonic (there's no B). To me it actually sounds like the most inside pc (subjective), even more than the obvious 6-note symmetric. Check them out; they have an interesting quality.

F Pentatonic is cool, too--a little further out.

Now I just realized that B+MA7 sounds great when I play Bb blues licks.

Bb!

Out of context, even with B in the bass, it still sounds like Bb is the priority note. Hmmmmmm.
Another way the LCC says you can treat B+MA7 would be to put the B on the +V of the Eb "Lydian Chromatic Scale".

The primary color for this chord would be the Eb 9 tone scale:

Eb F Gb G A Bb B C D (try playing melodies from this scale over the chord)

Another somewhat related note would be Db.

Once we identify the Eb as the Lydian Tonic, then we can use any of the colors from the Eb Lyd. Chrom. scale.

From this we can get all the scales you mention above - F pent, Bb major, etc.

Bb major is the horizontal scale built on the 5th degree of Ed Lyd. The rational behind calling it horizontal is because there is a resolution inherent in the scale - Bb major wants to keep resolving to Bb, then to Eb, then to Bb, etc. So my take is that this is why the Bb can sound like the primary note.

And once we choose a Bb horizontal scale on the V, other horizontal scales are easily associated:

Bb blues, and its close relation G blues. We could put Bb pentatonic in here too.

Since the lydian tonic is Eb, we could easily decide to choose horizontal scales that resolve to Eb as well:

Eb Major, Eb blues, C blues.

So an interesting experiment would be:

Play the Eb Major and Eb blues scales over the chord and see if the Eb now sounds like the priority note.
Post Reply