Official Scale for use in Blues

Discussions on the theoretical basis of the LCC

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Postby chespernevins » Mon Mar 31, 2008 7:10 am

I assume that was a typo and you meant the VI chord, right?


I think that we are agreeing with each other while at the same time, are coming dangerously close to talking past each other.


Hi Db,

We do agree with each other. I mis-spoke about the VI chord - for some reason I was thinking major or something... Oops. (Can I blame the pain pills? :roll: Anyway, I'm done with them now.) Unfortunately, one mistake like this can send us into a tailspin for a while.

Thank you for taking the time to clarify!
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Postby chespernevins » Mon Mar 31, 2008 7:33 am

DB said:
To what extent do the member scales become available for use when in the realm of HTG through CMG?


Strachs said:
In my understanding, CMG's do not draw upon the resources of the member scales, but are limited to the 7-tone order scale, the Lydian scale. When we begin using member scales, we are no longer treating the modal genre as a horizontal one, but as a vertical one.


Strachs, as a rebuttal to this statement, check out the Bach example on pp. 152-153, where George uses a vertical C Lydian b3 Official Scale environment:

C D Eb E F# G A B

along with CMGs C Vh major (G Major) and CIIh major (D Major). The first two chords has G Major resolving in a sharp direction to D Major - but in the context of both chords being CMG chords (not exactly triads) in C LYD b3.
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Postby Bob » Mon Mar 31, 2008 7:55 am

Can the CMG IIIh (aeolian), interpreted as a minor tonic station, then be re-interpreted as a VI minor tonic station, thus making the member scales of G LC available to it?
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Postby strachs » Mon Mar 31, 2008 9:34 am

Dude, you are so right! I never noticed any references to CMG that allowed for a member scale. That changes things.

Back I go to pgs 208-215 (the basis of my "Thoughts on..." thread).
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Postby Bob » Mon Mar 31, 2008 11:55 am

I'm still trying to sort out pp 122 - 126, while vamping on this:

||: C- [LYD.DIM I] C [LYD I] :||
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Postby strachs » Mon Mar 31, 2008 12:21 pm

What REALLY is the difference between II and IIh?

I understand the difference between I and Ih, as well as VI and VIh (names used to convey horizontal scales imposed over those modal tonics - not REALLY expressing CMG's).
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Postby Bob » Mon Mar 31, 2008 12:52 pm

strachs wrote:What REALLY is the difference between II and IIh?


Without referring back to the text. A IIv, expresses unity with say a D7 chord, it's vertical tonal gravity with C LYD as the parent scale and C the lydian tonic. IIh would be like blowing on D mixolydian, which only resolves to its D major triad. But I'll look up GR's distinction.
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Postby Bob » Mon Mar 31, 2008 3:39 pm

Bob wrote:
strachs wrote:What REALLY is the difference between II and IIh?


But I'll look up GR's distinction.


On 126 says that if it's a v, you can use the 11 member scales of the parent LC with it. If it's an h, the 8 PMGS of the concptual parent LC scale (i.e., the far left column) resolve to it.

That makes sense because modal harmony isn't functional per se.
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