lydianchromaticconcept.com

Motherlode,

I am coming from the functional harmony approach to harmonizing melodies and I seem to be trying to make the Migrations just a system of chord substitutions. That doesn't feel right. If the chord-substitution approach isn't right, how should I be thinking about it?

**Leigh

Motherlode I'm always interested in feedback. I like it that you gave part of the line to the piano; I learn something new every day. I agree with you that the Eb7 seems out of character and the (sort of) A7 is a better fit. I'm still trying to understand how you derive the Sonic Migrations, specifi...

I like it a lot that people are uploading PDFs of their scores. It seems very consistent with the warm, collaborative feel of this forum. I am not someone who can just play a score into a notation program; I have to enter it manually. So my request is that in addition to PDFs, people also upload Mus...

If your reference to the clarinet being inside the piano refers to Messiaen's "Quartet For The End Of Time", I'll listen to it again with the score because I will hear it now with fresh ears. Thanks! If you ever get the chance to hear "Des Canyons aux Étoiles" (commissioned by Al...

The color in these blocks reminds me of Messiaen's "Des Canyons aux Étoiles".

Hey ML! I just found this site today and when I listened to your sonic migration examples, I was really excited! I think I understand some of the basics now. As you say, the blocks are the essence of the chord and the Lydian Tonics are what provide the context appropriate to the melody. Your "R...