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Hello !


I was wondering if someone knew the reason(s) why GR may have put the introduction of prime (b7) with lyd.b7/aux.aug before prime (4) with aux.dim in 4th ed. while in previous editions aux. dim and prime (4) is introduced one step before aux.aug. and prime (b7).


perhaps one may have had the opportunity to directly ask the question at the time !?


remark: I reckon the order outgoing primes are introduced won't change their actual sound as each - is a quite particular case - introduces its own horizontal relations/intervals to the Lydian tonic.

see the 9 tone order is labelled as 'semi ingoing' (regardless of (+5) and (b3) order about which one may ask the same question with the same reserves, why (+5) before (b3) ?) and the 11 tone order as 'semi outgoing' - though (b7) is labelled as 10th and (4) as 11th as if there was still an "absolute vertical order".

remark+. I hope you won't answer it was an attempt to re-conciliate the WOTG and the circle of fifths to present the (b7) before the (4)

well well ... !!
I guess everyone would like to see 4th ed. [interval chart which may appear in] vol. 2.
music won't wait though.

cheers.

Maybe you've heard this before...

I think I heard him say once that the fact the overtone series itself forms a lydian b7 chordscale, and also the fact that it is a common occurrence to hear a Maj(b7) chord as a I chord, inspired him to consider putting a scale that has the Maj (b7) chord as the I chord into chart A (giving us the lydian b7 scale). This expanded the "I and altered I" chord category, and added a fourth Lydian-based scale to the original three.

He must have deliberated on that one for a long time, I would guess... It might have had the appeal of keeping the ladder of 5ths more intact than the old way too...

I agree with Chesper.