lydianchromaticconcept.com

chespernevins: "What exactly is the 11b9 chord?" dogbite: "now that's a very good question, major!" - ernest borgnine to lee marvin, "the dirty dozen"... you got me on that one, chesperado. but let's go for the obvious here: that a B11b9 has a B in it (duh) and an E (11...

Bob: the ALT makes as much sense as the ADB. a primary thrust of this and the B7b9 thread is what GR means vis-a-vis the 7b9. If it were clear, there would be no thread. dogbite: you mean that if it were clearer in the text that we would not be having this interesting conversation? see also page 77 ...

Bob: As indicated on Chart A, and recently highlighted by dogbite, the Lydian Tonic of a prevailing chordmode is found on one of the chord tones. It would be nice to hear about other Lydian practise tips. dogbite: imho, this is actually one one of the best practice regimens - to take a chord chart, ...

chespernevins: Something that I like in Db's post is the (appearance of the) usage of the 4 triads: I Maj, VI Min, I Diminished, I Augmented superimposed over bass notes to form chords. (Is that what you are doing Db?) I seem to remember George doing this. Dogbite, if your post was meant to justify ...

compare the following situations: 1) D7b9 played as C°/D Eb C F# D C° = C Lyd Dim C°/D = II chordmode C lyd dim 2) D11b9 played as Cm/D G Eb C D Cm = Eb Lyd Cm/D = VII chordmode Eb lyd 3) Dm7 played as F/D A F C D F = F Lyd F/D = VI chordmode F lyd *** the concept treats diminished chords as I ch...

"And in the left side 'brain' i shows up as a VII, but practise and in the various analyses it's described as a II. Maybe a VII if preceded by a #IV,e.g., ii7b5 Vb9. I don't thinks the answer is clear in the book." the VII chord mode is titled specifically "Major VIIB/Eleventh b9"...

Bob: "Was the parent scale of the Bb9 completely answered. It first occurs as a VII genre on the Lydian, and II is listed on VII as an alternate choice; but in the text, for example Monk's Monku, 7b9 shows up as Lyd.Dim II. Personal aesthetics would dictate the choice, but re: theoretical preci...

Bob: "I root, II b7, III #5 #IV b5, V 5th, VI b3, VII b9, and #V 3d." dogbite: i am pleased that you remembered my observation about the relationship between chord tones and lydian tonics. it is one of my most useful observations - it really does help me find the lydian tonics of VTG more ...

it's a wonderful idea mother!

let me know how i can help,

dogbite

[quote="chespernevins"][quote]"the cycle of doom" [i]philoxenos[/i] [/quote] But you're the one who coined that term, right? H just loved it though.[/quote] i actually "coined" the term, "circle of doom" and he titled his next post "the cycle of doom"...

"we come full circle" [i]bob[/i] "the wheel of destiny" [i]jimmy kimmel[/i] "the cycle of doom" [i]philoxenos[/i] i'm saddened that bob edited the word "obfuscation" from his post. it made me laugh. i really like the direction this thread is going. it's kind o...

"Alternatively, To prep a tune, would a lead sheet consisting of only parent scale names and chord roots suffice?" yes. to me, this is the elegant simplicity, the beauty of the LCC - so much from so little: Lydian Tonic Lydian Tonic Interval Modal Tonic all defined from the eight PMG - all...

is this too good to be true??? newcomers may not be aware of the forum being down for quite some time. it certainly seemed like a long time anyhow, so forgive our excitement... i hope we didn't lose anybody in the meantime. in any case, it's good to be back. hey guys, if we were to reinstate the VTG...

no you're not being stupid at all. C is simply an alternate parent LC scale for B7b9. see chapter VI (page 103) for a detailed discussion of this...

dogbite

i think i can speak for everyone in that i am also anxious about the upcoming release of the second volume. and that i have no idea when to expect it. greetings also from northern california - it is most certainly not hot here! the second volume is said to be focused on horizontal tonal gravity (as ...