Dual-Nature Modes Are The Key To The Cadence And Always Were

Discussions on the theoretical basis of the LCC

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Dual-Nature Modes Are The Key To The Cadence And Always Were

Postby strachs » Fri Feb 27, 2009 10:20 am

After trying to swim in the deep end of this whole HTG thing, some clarity is emerging on a few things. Here's one:

A common practice, both in Jazz and in Baroque/Classical/Romantic music, is the progression (in traditional harmony nomenclature) ii-V7, used as either the setup for a cadence, or as an independent little expression in modal music.

On page 111, Russell refers to this general practice in LCC terms, and greatly expands upon it:

Notice that the chords in bars 1 and 2, although employing differnt scale colors, have quite the same Lydian Chromatic Scale. One may form a general rule about this: whenever a minor chord is followed by a 7th chord a 5th below, one LC Scale may be retained by assigning the +IV AMT degree to the minor chord and the VII AMT degree to the 7th chord. This is also the case when the VI scale degree is assigned to the minor chord and teh II degree to the following 7th chord a 5th below.


So, the traditional major-key cadence set-up (ii-V7, or Dm-G7) can be considered VI-II in LCC terms, and the traditional minor-key cadence set-up (ii-VI, or Dm7b5-G7) can be considered +IV-VII. Very cool, because the entire range of LCS colours can be applied to this little horizontal ecosystem, while maintaining the unity, or related-ness of the two chords.

Taking this further, where does the VI-II set-up usually resolve to? To Vh (or I in the next sharp-lying LCS). Same with the relative minor version of this: +IV-VII usually resolves to IIIh (or VI in the next sharp-lying LCS).

In both cases, you have a succession of MG's within one Lydian scale, that flow naturally from one to the next, each a fifth apart. I have been wondering why this works, but does not continue to work when proceeding from IIIh to VI or from Vh to I.

This was likely why theorists/composers of antiquity thought of the Ionian and Aeolian modes as the real basis of music because, horizontally "the buck stops here", so to speak.

If we look a little closer, we find that VI is a purely vertical MG, but II is a Dual-Nature MG. So II at the same time is a CMG tonic station to which PMG VI can resolve, and is also a PMG that can resolve to the CMG V. Going futher does not work, because V is not a PMG and I is not a CMG.

Similarly, +IV is a purely vertical MG, but VII is a Dual-Nature MG. The VII is a CMG tonic station that +IV can resolve to, but is also a PMG that can resolve to the CMG III. Going further does not work, becuase III is not a PMG and VI is not a CMG.

In horizontal application, PMG's are the "from" chords, and CMG's are the "to" chords. The neat thing is that no CMG is JUST a "to" chord, it is also a "from" chord.

That being said, the only case where this works PERFECTLY is MG II, where the vertical and horizontal version is exactly the same chord. Vh and Vv are different chords, as are IIIh and IIIv. VIIh is a bit curious, because, strictly speaking, its vertical identity is PMG I with VIII in the bass. But, as has been noted, this PMG has a kind of 7thb9 "essence", even though not having a major third until the 9TO.

Interestingly, the Baroque/Classical/Romantic people's solution to this slight difference (between II and VIII) was to use the 9TO (Mode IIIh being the harmonic minor scale) in minor keys.

Anyway, tangents aside, it seems to me the DUAL identity of V, II, III, and VII factors hugely in traditional harmonic progressions. One could definitely make the observation that this whole tonal gravity thing has been staring us in the face for centuries, was intuitively utilized even if not really understood. Now, Russell has lifted the veil, so to speak. Too bad so few want to invest thier insights in his findings. Hopefully one day this thing will catch on. No matter what style/period/genre you're into, LCC is the biggest musical eye-opener you'll ever find.
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Postby sandywilliams » Fri Feb 27, 2009 5:40 pm

Your post brings up an interesting quote from the book on page 211" purely vertical modes: Lydian on F,
Locrian on B and Dorian on D within the C major scale". So, the CMGs are the other four, right?
I like to think that I can play and hear vertically and horizontally at the same time. In many cases HTG mostly involves staying within the major scale or blues scale of the key you are in. Or playing into the major scale or blues scale you are going to. All this can be the upper voice of vertical activity.
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Postby dds1234 » Sat Feb 28, 2009 2:16 pm

What do you mean by upper voice sandy?
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Postby sandywilliams » Sun Mar 01, 2009 1:56 am

The top note of a chord. If I'm playing an F blues and at some point I play a D7#9#11 with G#/Ab on top I'm simultaneously aware and hearing that note as the b3 of an F blues scale.
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