Page 1 of 1
Posted: Sun May 01, 2011 9:25 pm
by guitarjazz
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!
Posted: Mon May 02, 2011 10:17 am
by chespernevins
If we extend that symmetrical pattern above A and keep going until we've introduced the remaining 5 tones of the chromatic scale we get:
C E G B D F# A C# E G# B D# F# A# C# E#
Notice how each new note after A yields a new tone and then yields a tone already in the series in a regularly alternating pattern.
The order that the new tones are introduced in is bII +V bIII bVII and IV which is the same order that new notes would be introduced if we extended the ladder of P5ths starting on C above F#.
Yes, this is cool.
Can't this be seen as a variation on the cycle of fifths? Go up 4 5ths, down 3 5ths, repeat.
Therefore it by definition starts with the Lydian scale notes (all 5ths) and has a resemblance to the extended ladder of fifths as it gets past the first 7 tones.
Going up 4 fifths and then back 3 5ths each time explains why new notes are introduced but then old notes are repeated.
To tie this in to the LCC, the distinction George Russell made was to decide where to stop around the cycle of fifths in order to preserve a single key area and a tonic.
As you referenced in your first post, he stopped at F# because the next note, Db, flipped the ladder and became the tonic of the C-Db interval (through the rational of the ladder of fifths).