lydianchromaticconcept.com

I guess relating these horizontal scales to just one chord would qualify these scale choices as "verticalized horizontal melodies". Do you agree?

Apologies to Jamie for highjacking the thread... Good observation on your part regarding test A!

Bb said: I followed your reasoning through this. But could you clarify the quote and/or point to a reference in Vol 1. I admit I haven't given the CMG section as close a read as I should. Bob, good question. It's not easy to find in the book. But there are a couple of references to this idea, the mo...

ON THE OTHER HAND, Check this out: p.118, under the FIIh:G Major diagram, where George lists G maj, G majb7, G majb7 (9,11,13). Also, p.123, first paragraph, regarding the F maj b7 being an EbIIh. It goes on to say "The musician is therefore free to relate to any 7th chord in the manner of a II...

Sandy, Thanks for your good comments. George doesn't like the term 'dominant seventh'. He would say" dominant to what?". Oops, yeah, I was getting a little fast and loose with the terminology there. Maj b7. Concerning CMGs: they work because of their sharp relationship to the LT. When you ...

wow - great stuff!!!!

I think I pointed this out before, but maybe it got cleaned up after the forum fell apart for a while.

Jimmy Cleveland is on trombone in this video - one of my favorite trombonists of that era.

What is the advantage of saying | F Maj7 [Bb Vh] rather than F Major or | D- [Bb LYD IIIh] rather than D natural minor? Perhaps to demonstrate Bb as the lydian center of gravity. Bob, Yes, I think you're on the right track. I’m thinking that the BbVh encapsulates the idea of the simultaneous toni...

So, would it be accurate to refer to Bb as the Lydian tonic of the piece? No, I don’t think so. Take the first 3 bars as a microcosm of the tune. Although Bb is listed as the Lydian tonic, forget that for a sec. Just look at the progression: | G- | C7 | F | This progression really resolves to an ...

Just to dig myself deeper into this hole, and speaking of CMGs and of B7b9 in another recent thread: B7b9 can come from the following Lydian Chromatic Scales: C, D, Eb, F, and A. On chart A, for B7b9, VII is the PMG and +V, +IV and II are listed as AMTs. I add VI as another AMG. (D lyd b7 as a paren...

Hey Sandy, That’s pretty interesting how you use the Maj #5 scale. I have always thought of the #5 scale as more of a Major Bebop scale. Here are some horizontal scales I like over B7b9. B blues C Maj, C Maj b7, C Maj Bebop, C blues, A blues D Maj b7, D blues, B blues Eb Maj, Eb Maj b7, Eb Maj Beb...

LOL

If anyone could add to this or clarify, I’d be grateful. If this is too involved, please just skip and forgive me for writing such an essay.

Here’s what I recall of “The Law of Resolving Tendenciesâ€

ML,

Love it. Lucky couple. I see you've taken all the appropriate steps to ensure their send-off to seventh heaven.

I like those harmonies - reminds me of the group Take 6 on first hearing, although I know the HiLos came first.

There's always room for a few antics - thanks for sharing!

ML,

Thanks so much for sharing your thoughts on this. I wish I could be as timely in my responses as you are! Given my schedule, I usually have to wait until a weekend or some free time to go over in-depth details. But as you see, I do get to it.

Much appreciated, I'll be checking this out!

Hey all, I wrote up this mail to Bb to try and explain CMGs. I wrote it quickly and imperfectly and I want to post it this way. I would love for someone to come along and rip this to shreds, and show me where I went wrong, clarify or otherwise school me/us if necessary. Hey Bob, I was thinking, I do...