lydianchromaticconcept.com

Yes, the tonal centers are equidistant, just like the tones of an Aug chord. This will undoubtedly be the meaning of the triangle in that diagram on the title page (the one with "deep south" and "far north" markings). I guess a square would mean tonal centers a minor third apart....

There's a name for that process (inserting the V7 chord), but I can't think of it right now.

Are you thinking of "secondary dominants"?

One thing that the Concept has really brought to the fore for me, is the importance of tracking the presence of tritones, even when they're not being sounded. For one thing, the number of simultaneous tritones is a charachteristic of the Tonal Orders, and is expressed by the various Scales and Chord...

Now that you've identified the purpose of this thread, I can see that It directly addresses the question I raised over in "Tritone Substitution". Related to this, and in response to your first post in this thread, I found an interesting book in Google Book Search ( http://books.google.ca/b...

I lack the software. I'm just relying on your transcription.

I'm doing very well.... and glad to hear you are on the mend. We've missed you. You're so generous with your input and insight! I see what you're saying - the fact that the bass line spells a scale is almost incidental, and to be used as basically a memory aid to the bass player, not an outline of t...

Since the solos are vertically relating to the chord of the moment, and the bass is relating to a scale that spans several chords, would this be an example of Supra-Vertical Tonal Gravity?

Not much has been said in here about tritone substitution. I know you jazzerz are often into this, as a way to change a chord prgression, but maintain functionality. The concept offers a cool perspective on this ... just look at the AMG's proposed for 7th chords (PMG II). A direct substitute for II ...

I agree that it probably will be used in book two. Probably a way to help you navigate between Lydian Chromatic Scales so that you have an idea where you are in relation to your starting point.

Just wondered if anyone had any advance insight.

Anyone have an idea what that "Deep South/Far North" diagram is all about on the title page just before the table of Contents?

Cool solo. If I'm hearing it right, it's an excellent example of Verticalized Horizontal Melody. Placing the major pentatonic scale (with Oriental-sounding parallel fourths - cool) in two tonal environments, but both within the CMG reach achieves a mildly outgoing sound using pretty ingoing material...

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 a...

I'm not making a case for not using Lb7, just as I'm not suggesting we no longer use the major scale. My sensibilities just prefer to note where a scale's tonal organization comes from when I use it (that's the basic impetus of the Concept in the first place). It's true that there are several points...

I guess my bottom line is, I have a dislike for knowing more than I need to know. Especially if it confuses me further. My mind is kind of lazy that way. My preference is to do away with horizontal scales altogether, and just put my CMG hat on to deal with the horizontal aspects of harmony since tha...

The only truly unique chord I see that did not previously exist as a PMG flavor is Mode II 9th+5. Otherwise, all the chords already existed in LA, one step to the right in Chart A. A quasi-exception is Mode VI, which has min 7th b9 and min 11th b9. These were already available on Mode VII back in th...