lydianchromaticconcept.com

Eb is the center of Tonal Gravity for a C minor chord. The Eb Lydian Tonic rests on C, the Modal Tonic. The root of the chord is the modal tonic. This is a correct LCC analysis, of course. But in the context of this discussion of intervals: Example I:9 on p.6 is titled "Interval Tonic Justific...

Re: Russell, his Interval Tonic chart on p.6 of the current LCC, is the same as Hindemith's Series 2, except that Hindemith would not assign an unambiguous tonic to a tritone. Hmmmm, now looking at George's ExampleI:9 on p.6, I am not so sure these series are so similar. For example, look at the in...

Re: Russell, his Interval Tonic chart on p.6 of the current LCC, is the same as Hindemith's Series 2, except that Hindemith would not assign an unambiguous tonic to a tritone. I don't view these theories as being in conflict, but true from a given perspective. Yes, series 2 is pretty much similar t...

Bob, Great stuff! Hindemith has a lot to say about using intervals, based on each interval's tonic, in a chromatic tonal environment. Here is a link for a nice summary. The related text is Hindemith's Craft of Musical Composition Vol I. http://www-pub.naz.edu:9000/~jturner9/EZGuideExpSyl.html >By ta...

I would enjoy reading how "the concept" was used to solve your musical problems I play a few instruments - piano, chromatic harmonica, trombone. The trombone and harmonica both have a physical layout (limitations) that you must work with. Early on, the idea of vertical gravity got me away...

Yes, nice - and apropos. Just keep trying all the devices until the ear is familiar enough to find the best way through.

Is atonality your goal ? Thanks for the question - and it's a good question. I guess I'll reply on the board - maybe it'll be of general interest to a few. Sorry to the rest. No, atonality isn't my goal. At one time I would have said yes, and I tried (unsuccessfully) to do that. But nowadays, as fa...

This will be obvious to most of you already, I think, but it was a small breakthrough for me... But I was reviewing the interval chart and the tonal gravity of each interval in relation to the LT as mentioned in previous posts. Vertically speaking, I am pretty comfortable in using the more outoing m...

Nice post! I think you are on to something here - seems like theoretical concepts can suddenly fall into place when the ear is ready to make sense of them. I've done plenty of ear training on intervals, but it hadn't occured to me to work on them in reference to a lydian tonic, as listed in George's...

Even with the confusion, this discussion has clarified my thinking somewhat. So C lydian chromatic would be the station implied by a group of chords that resolved to C Major. I just don't think it was fully explained why 4th based scales have to take precedence in this situation. If the tonic statio...

So, from what I'm gathering: Let's say I write a melody using the notes GABCDEF exclusively. And I use a chord progression for this tune that includes G, F, C, Amin, Emin, and Dmin and it began and ended on G - clearly in the key of G. And let's say the melody is an irish or folk or traditional type...

i think that for all intents and purposes mr.russell was merely pointing out that the F lydian scale, which is a member scale of the F lydian chromatic scale, contains the same tonal material as the C major scale, which is a member scale of the C lydian chromatic scale, and that the similarity ends...

another observation i had was that the idea of three tonics in the "mixolydian" scale is incorrect because the author of that particular point seemed unaware of the fact that the two resolving tetrachords of the major scale are constructed: whole-step, whole-step, half-step, which is true...

Sandy said: BTW The term ‘Lydian’ is the only modal term that the LCC has in common with tradition theory nomenclature I always thought that what you say here was true. But then when I read pp.118-121 of the new book, I saw that he uses the terms Mixolydian, Ionian, Aeolian and Phrygian in state...

Your other points regarding the implied tonics of modes are a little more difficult to understand as I feel there's some confusion there about what constitutes a tonic in relation to a mode as opposed to a chord. To me a Dorian scale implies one Lydian tonic, a minor 3rd above it's root. However th...