+5 MA 7
Posted: Sat Dec 08, 2007 10:06 am
To preface my question, here's something I posted to the AAJ:
Hey Ed and all,
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.
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.
Hey Ed and all,
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+MA7: Does R expore (explain) this in LCC? I'm curious as to what LCC suggests as "inside" pcs on this chord-type.
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.
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".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.
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.