lydianchromaticconcept.com

Seems like the Net induces a behavior very similar to road rage in some folks. It's easy to get caught up in, for sure

[quote="Bob"][quote="sandywilliams"][quote="Bob"][quote="sandywilliams"] [quote]In SVTG it’s sort of like juggling a bundle of little Ferris wheels of tonality. I can’t say I can do it. I hear HTG as the element that centers all this activity. Without it y...

[quote="Bob"][quote="sandywilliams"]I think you are talking about SVTG as much as SMGs. You must be careful when adjusting the matter and anti-matter flux. Without HTG the ship might implode![/quote] Can you say more about that?[/quote] In SVTG it’s sort of like juggling a bund...

I once made a CD mix..but not quite…it was entirely made up of different versions of ‘Round Midnight. I’m pretty sure they’re enough versions in the ol’ library to do the same with Autumn Leaves. This version would be a great addition. It’s fun to listen and compare…not for the ‘best...

Speaking of HTG. My mind was recently blown by the idea that the first chord of the bridge of Ipanema is a IV chord in the key of Db. I’d always thought of it as a I chord. In LCC terms this new way (Db) makes the horizontal focus for the first two chords of the bridge Db major. Since then I’ve ...

I think you are talking about SVTG as much as SMGs. You must be careful when adjusting the matter and anti-matter flux. Without HTG the ship might implode!

Yes, sorry to digress. The lead article is nice and the quotes from GR are interesting. Thanks for the link.

BTW...and I like the Ramones!

Geez, there are some harsh thoughts on that thread. My favorite line isâ€

The Lydian b7 has such a strong tonical quality, probably owing to its close relationship to the overtone series.

“That this is somewhat irritating even to Russell is demonstrated by his lack of regard for the term "dominant". Whether he likes the implications of that word or not, it remains a useful word to communicate a chord of that type to the widest audience.â€

There is an interesting nod to the symmetric division of the chromatic scale in the LC tonal order. The Lydian scale acknowledges the division of the octave in half with the #4. The LA acknowledges the division of the octave in 3 equal arts with the #5. The LD..division in 4 equal parts with b3. The...

On point #3:
The tonal order leaves the bII at the end of the train because of its lack of contribution to creating vertical structures. The #5 and b3 both create a wealth of interesting new chords.
The ‘unbroken cycle’ comes more into play in Horizontal Tonal Gravity.

In response to point 1..You are right..that is a typo.

That's it.