lydianchromaticconcept.com

Another brain fart: Can someone please tell me what the practical difference is between the LA scale and the Lb7 scale in practical terms? F Lb7 and Eb LA, for example, contain exactly the same notes. On what basis, then, do we conclude that they are different? For example, notice that the exact sam...

chespernevins: Cool observation - the A in that 12-tone order scale implying the F LC scale. Gives a fairly close sharp-direction key to resolve to, doesn't it. It's always interesting how many different results can be obtained by looking at things in a new way. I'll never go back (to my pre-LCC awa...

It seems that since the new tones intruduced by the 8- 9- 10- and 11-tone orders are a fifth apart, (just like the first seven tones of the LC Scale), one can use the most outgoing note of a given order, change to a new LC scale in the sharp direction, and continue to use that note as the most outgo...

Where was this score found? It looks EXACTLY like the pennmanship of David Baker. Is it from one of his books?

chespernevins: Not really "more meaningful" than the horizontal scale, no. The horzontal scale spelled on pg 18 of the book seemed to contain more notes than I am used to seeing in relation to blues music. It seems like a combination of two scales that I am more used to seeing. Actually th...

I tried an interesting thing. Three of the principal scales (LA, LD, and LFS) are constructed by altering one of the lydian scale degrees. The new (more out-going note) DISPLACES the "natural" version of that note. LA, for example adds the raised fifth to the lydian scale, but the perfect ...

Bob's blog (called "from the ground up") is a very good summary of the Concept. His desire to describe the Concept to his 13 year-old daughter is exactly what I'm talking about. Although explaining it in DETAIL to someone so young probably would not be good, I think it would definitely be ...

Hey motherlode: where have your replies gone? They are part of the fabric of this discussion!

Thanks, both of you for your replies. Sandy: I totally get where you're coming from in asmuch as "dominant" only has it's true meaning in a Classical, horizontal, sort of situation. I agree that dominant is not the best term to use for this chord in a STRICT sense, since it implies horizon...

That's true. I guess it's just a little dissapointing to my idealistic side that a system that starts to be more accurate and objective by stacking those fifths, cannot continue to do so until the circle is completed, without losing a lot along the way. Becuase the next fifth after #4 is "#1&qu...

You're right, those degrees do yield the greatest resources for useful chord types. That does make for a compelling reason to place those tones earlier in the "Lydian Chromatic Scale". I guess my only issue with that was treating the new degrees of that scale as a sort of grade from most i...

Thanks to both sandywilliams and motherlode for your replies! Motherlode: you make a good point about the "essence" of a chord (not requiring all the voices to be represented in the voicing). I wonder, though, if that is the case here. In the other columns, the chord names seem to express ...

I originally was going to raise some concerns directly with the folks @ the main website, but the email address on the "Contact" page is not functional. So, I'm throwing some questions out there for those who are concerned with the concept and the book: 1. In Chart A, why is the Parent Lyd...