lydianchromaticconcept.com

[quote="strachs"]Sandy: I guess that IS an important distinction - thanks. Also, I was doing some reading further back in the forum and found (in the B7b9 thread) mention of a "Cb lydian #2" horizontal scale (posted by you). Do you know where in the book that is? Or is it in a pr...

[quote="strachs"] I have an equally strong feeling that Russell is overly biased against the practices/traditions of the Classical school. For me, I'm waiting patiently for Volume II (when, oh when, will it arrive?). [/quote] He's certainly not biased against the music...maybe the theory. ...

http://www.emusic.com/artist/George-Rus ... 62493.html

The itunes store probably has more as well.

There is an analogy between G7(Modal Genre II, F LT)to C ( Modal Genre I ,C LT) and E7 (Modal Genre VII, F LT) to Ami (Modal Genre VI, C LT). Another way to look at it is that F lydian and C major share the same notes and F lydian #2 and C major scale with a raised 5/ A harmonic minor share the same...

The bedrock of the LCC wasn’t formed in a physics lab, it was formed with Mr. Russell sitting at a piano, listening. The main principal of the LCC is Tonal Gravity. The book you have deals primarily with Vertical Tonal Gravity but if you are lucky enough to find a copy of the 1959 edition on eBay ...

"To me these inaccuracies are glaring, but seemingly not to any one else here. The lie here is that the 13th overtone is a major 6th. And even though it is closer to being a b6th, it is NEITHER A b6th NOR a major 6th. The half-truth here is that the 11th overtone is an augmented fourth. One een...

In any case, a C Lydian scale resonates so nicely in a vertical sense with a C maj13#11 chord. The f note in a C major scale sounds like a lonesome stepchild to my ears when you play all the notes of the scale in a tertian order.
Jeff, have you ever read the book Lies My Music Teacher Told Me?

"I do think there is a difference between an Outgoing tone vs. an outgoing sound. Example, an OS with C D Eb F# G Ab B is going to produce a more outgoing sound than an OS with C Db D E F# G A B."

Can you explain this a little more?

I just wanted to alert everybody that there is some new( to me, at least) content at http://www.lydianchromaticconcept.com/main.html

ML One of my friends just played a gig with Moody and said his enthusiasm for learning was like that of a youngster. He was woodshedding lines and trying to get the younger cats to show them the stuff they were working on.

Bartok!

It has to do with the chords that each tone propagates. To jump from +4 to –2 wouldn’t yield the correct hues of chord sounds to create a useable ingoing/outgoing continuum.
Does this jive with your idea?

The +5 is in the 8-tone order. If the set of notes includes the b3 too then the +5 is in the 9 tone order. Another way to look at it is that 123#4567 are all in the 8 and 9 tone order.
This could be a good time to look at the section of the book about 'official scales'.

The version of All the Things on Luke Gillespie’s CD would blow your mind and I think it’s only one chorus.
http://www.riaxmusic.com/catalog/produc ... ucts_id=44

This chart shows the horizontal tonic stations..right? The Con Alma subs start on the Db chord...I know your chart doesn't show that, I just love 'all the subs' that can manifest themselves over this tune. David Baker has a nice tune called 'None a Place May Be' based on ATTYA using changes he got f...