a quick question...

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.

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a quick question...

Postby MokshaIs » Mon Apr 04, 2011 10:30 pm

Lydian Diminished... 4th mode of harmonic minor?
"space is the place"
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Postby MokshaIs » Tue Apr 05, 2011 3:12 am

thank you!
"space is the place"
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Postby chespernevins » Tue Apr 05, 2011 1:23 pm

Harmonic Minor = E F# G A B C D# = C Lydian #2 IIIh
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Postby guitarjazz » Tue Apr 05, 2011 3:25 pm

The harmonic minor is considered a horizontal scale in the LCC. For instance, E harmonic minor has a flat-lying LT (C, as Chesper pointed out).
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Postby strachs » Mon Apr 11, 2011 7:10 am

Classical theory/pedagogy uses the terms "leading note" and "leaning note" to denote tones that resolve up and those that resolve down.

In these terms, The major scale, or Ionian Mode, has it's M7 as a leading tone (resolves up to the tonic), and it's P4 as a leaning tone (resolves down to the M3 - a member of the tonic triad), both of which contribute to the HTG toward the tonic major triad.

The "natural minor" scale, or Aeolean Mode, has it's P4 as a leaning tone (this time resolving down to the m3 - a little weaker than to the M3), and a m6 as a leaning tone (resolves down to the P5), both creating HTG to the tonic minor triad.

To strengthen that HTG in minor keys, which classical music was all about, the Harmonic Minor scale was used - adding the M7 leading note to complement the force of the P4 and m6 to the tonic minor triad.

The Harmonic Major scale contains all three of these horizontally-charged intervals, but this time resolving to a tonic MAJOR triad - a more stable, final-sounding structure than the minor triad.

Like you said, motherlode, it's a very decisive scale for the horizontal side of things, since the intervals make it very clear whether your melody note is "here" or "there", and the polarity between separate, distinct "places" is at about it's maximum.
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Postby chespernevins » Mon Apr 11, 2011 7:05 pm

motherlode wrote:Now...are we just using different terminology to answer this question? Or are we actually giving two different answers?


No ML, no different answers at all.

I agree that G Harmonic MAJOR = C Lydian Dim. [G Harmonic Major = C LD Vh ]

I was making the additional point that E Harmonic MINOR = C Lydian #2. [E Harmonic Minor = C L#2 IIIh ]
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