lydianchromaticconcept.com

What got the whole ladder-of-fifths theory going for Russell was: listening to various voicings of M13 (Major/Ionian) and M13#11 (Lydian) side-by-side, hearing a fundamentaly different posture in each, and asking "Why?". That's a good disposition for anyone to adopt who hopes to grapple wi...

First of all, welcome to the forum. Many are probably surprised I have not chimed in on such a theoretical discussion. It's purely to do with being busy - I'm totally interested in this side of things. Before exchanging anything in real-time, let me catch up a little by quoting you a bit and comment...

Without “shooting downâ€

Hi motherlode, I do remember your positive response to that blues thing, and it was certainly appreciated. And I appreciate that you are yet open to my contributions. I don't get that response from everyone, you know. I have some ideas yet to share, and I've been toying with NOT posting them here, o...

I think it's unfortunate that dialogue on a theoretical level is so discouraged in this forum. While I don't agree with Jeff Brent's take on theory, or his particular argumentation against the LCC, I wish there were some other reaction to theory discussion than "GR is a genius who figured out a...

Classical theory/pedagogy uses the terms "leading note" and "leaning note" to denote tones that resolve up and those that resolve down. In these terms, The major scale, or Ionian Mode, has it's M7 as a leading tone (resolves up to the tonic), and it's P4 as a leaning tone (resolv...

One time I was reading though old posts and came accross some "appreciating GR"-type comments. I wish I could find it again. In it, someone (it seems it might have been bobappleton) stated that the LCC expanded the number of avaliable chords by one-third, or something like that. I realize ...

Your reference to "The Black Perspective In Music" led me to this:

http://www.criticalimprov.com/rt/printerFriendly/7/18

which I'm sure GR fans will appreciate.

I did mean D, woops. I've edited my response with the D instead.

Forgive me, but if the absence of C# means no ladder, doesn't that apply to the Ab as well, since there is no Eb, Bb, or F to "connect" the Ab (competing LT) to the C, G, and D that it is said to claim?

Very, very interesting take. If we introduce C# to the ladder of fifths built on C, it actually creates another ladder of fifths on G. This is how adding C# "gives strength to the G" – by making G the tonic of its own ladder of fifths. Could this logic also be applied to the Ab you menti...

I enjoyed this perspective and approach when you first shared it over a year ago. chespernevins wrote: "The Lydian scale is a ladder of 6 5ths (7 notes total) because C is the tonic of the 6 5ths stacked upon it. C is no longer the tonic of the interval it makes with the 7th fifth (the tonic of...

I was not suggesting that the members of the forum are an elite intelligentsia, as if to elevate myself by being in this company. That WOULD be pompous, but you got me wrong, Bob. I was simply referring to the fact that with few exceptions, any discussion of the LCC outside this forum tends to be am...

I publish no one's position but my own. Sharing references to works that have improved my understanding does not promote them as replacements for LCC. I don't see Hindemith, Russell, Mathieu, or any other composer/theorist as having all the answers in a neat little system that trumps all the others....

The problem is, no one but the members of this forum are in a position to intelligently make any comparisons between the Concept and other theories of harmony. In here it will have to be.

Merrick is simply trying to explore and explain that force that seems to make one chord or structure "want" to resolve/move somewhere else. Bob is right that Merrick's work is "not the LCC". But since the LCC does not venture into the "why's" of HTG, Merrick's work is p...