lydianchromaticconcept.com

i believe russell intends the lydian diminished and auxiliary diminished scales from the I chordmode to be used for diminished seventh chords...

perhaps i missed your point. i'm unsure if you are looking for a "3x5" synopsis of:

1) member scales

2) levels of tonal gravity

3) direct application

4) theoretical foundation, etc...

tell us more of what you're looking for.

db

1) i'd say you're synopsis is right on target. 2) if your 13 year old daughter still talks to you, i'd say that your parenting skills are also right on target. 3) if anything needs simplification, i'd say it's the LANGUAGE: for example, "auxiliary diminished blues" has way too many syllabl...

i like it, mother!

how 'bout, "elegant beauty"

db

bob you and me not on the same page, bob? tell me it ain't so! i used to think that bob a's commentary was laced with metaphor, but yours is absolutely rich. please consider this a compliment, as i learn much from both you guys by having to look this stuff up, but consider this: 1) PH was fully awar...

epitaph

the destruction of the battlestar chromactica

the circle of doom prevails:

C F Bb Eb Ab Db Gb B E A D G C, etc...

it's really all about "possibilities", isn't it?

Db

forgive me for appearing like an idiot. i guess i've never thought of VTG vs HTG as opposite poles; rather, bob's historical perspective seems more fitting... humankind is constantly working through chaos to seek order - it is a natural evolution - the quest to make sense of the world around us. new...

i was actually pondering a response to andrew's post, but i finally realized: i got nuthin' - i need more...

more what?

the duality andrew speaks of - player vs theorist, intellect vs emotion, order vs chaos, etc...

is there one specific dynamic you were referring to, pertaining to russell?

Db

rappleton's back! good to hear from you again... the following is an excerpt from a conversation about lydian, modal, and interval tonics. the views posted here represent the ramblings of the author (me) and may not necessarily represent the official voice of the LCC (mr. russell): begin excerpt &qu...

i am (almost) embarrassed - my last post, upon further examination seemed to contain a variation of "can't we all get along?" yuk! however, sandy, in a pm, directed me to another thread in "that other forum" where the need for civility becomes apparent beyond belief. i will leave...

i am in agreement with sandy here about a couple of key points. as "fans" of the LCC we stand in danger of either: 1) "preaching to the choir" or 2) discouraging those with legitimate concerns from asking probing questions about what is by (i hope) mutual agreement fairly difficu...

i believe that the definitions of both 1) modal tonic and 2) lydian tonic may be helpful in sorting all this out. i suspect that hindemith was hearing the lower tone of the minor third as a "modal tonic" and that russell is referring to the upper tone as a "lydian tonic". i agree...

"My ear tells me that the root of the minor third interval could be either tone, depending on context." i agree with this and may even further posit that tonal gravity may provide many tonics to a single chord, due to its context. for example: Fm7 Bbm7 Eb7 Ab Db G7 C let's analyze the chor...

perhaps the modal tonic gives a chord its horizontal tonal gravity and the lydian tonic gives a chord its vertical tonal gravity

my vocabulary (or lack thereof...) implored me to seek a dictionary definition of "dialectic", and i confess (yet again) that my understanding may still be incomplete - in any case, i am intrigued by the concept of a "random" bass line. in the context of a harmonic environment (c...