Chart A discrepancies.

Questions and answers on the basic structure of the LCC

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Postby dogbite » Fri Mar 21, 2008 3:02 am

i agree with you chesper, in that the nature of 11b9 is different than that of the 7b9. i like the description of 11b9 as susb9...

if we accept the state of unity that chordmode II exhibits with the seventh (7,9,11,13) chord, then 7b9 might be best described as 7,b9,11,13 [II lydian diminished] - it just seems right to me through the lenses of the concept...

it does seem as though that we are beginning to go around in circles with this dialogue. this dog doesn't mind chasing his own tail but after a while, the view never changes - i hope nobody's getting dizzy...

II, VII, +V indeed

db
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Postby Bob » Fri Mar 21, 2008 9:54 am

Playing the Lydian VII over the modal tonic certainly confirms the 7susb9 quality. In addition to close to distant relationships, one can make scale choices on the basis of light to dark, emotional tenor, and other aesthetic and emotional considerations. What is the tone of the story.
10 {The artist formerly known as Bb}
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