lydianchromaticconcept.com

Also related to chord-parenting: As we already know, Lydian b7 is a mode of Lydian Augmented. Yet, it appears as a Primary Parent scale in it's own right in the Concept. From one set of notes, we get an 8TO structure and a 10TO structure. My question would be, does this (Lb7) scale provide NEW chord...

Another point: although the CMG's can be used to express upper extensions of the chordmode, the distinction between the Primary and the Conceptual status is only clear when the chord is limited to a triad. As you progress into upper extensions, you are bridging the gap (picture the two hands in Mich...

Since you're all helpin' me out here, I have another question. We know that the GRAVITY CENTERING ELEMENT (GCE) for VTG is the CHORD in a chord/scale alliance. I haven't yet spotted what the GCE is for HTG (maybe it's not in there), have you? Reason I ask, is because I know how to tell the differenc...

I think you're right, Ches. I appreciate you weighing in on this. Although the term triad is used extensively in discussing CMG's, the diagrams in examples VI:14-VI:17 show triads, and also list some extended chords below, thus allowing for the entire mode to provide extended chord tones over and ab...

I guess my confusion stems also from the second sentence under that heading They function both vertically and horizontally. The information on CMG's up until this part of the book seemed to be referring to the dual nature of the four MODAL TONICS V, III, II, and VII - that they could produce PMG str...

Rather than start a new topic, I'll just plug this question in here...... On page 126, under the subheading "Summation of Conceptual Modal Genres", there is a paragraph (beside the word "vertically") that confuses me a little. Up until this point, the CMG's are described as TRIAD...

Hey Ches, thanks for replying. The answer, of course, was staring me right in the face the whole time, but I didn't see it until you pointed it out - the absence of the natural fourth in Lb7 is the strongest clue that this is not a horizontal scale. As a result, you are again correct that the term V...

It is true that the Maj b7 chord is treated as the I chord in much music. But that could be said of major chords in a major scale context, as well. This does not qualify the major scale to be a Primary Parent scale, though. My angle, I guess, is to arrive at a consistent manner of treating structure...

A very clarifying paragraph (for me, anyway, because I was lost on this until now) on the issue of vertical vs. horizontal is found on page 197 (second paragraph). It is helpful because it expresses that there are MATERIALS that are essentially horizontal or vertical (scale types with inherent chara...

OK, if you read what I recently posted on this subject (last week - i have deleted it now), just ignore it. Some of the points are valid, but others, I can see now, are just wrong. It turns out that where I thought I was at odds with Russell, I am actually not. Some experimenting demonstrated my obj...

OK, good example. The 7+5 chord can definitely be produced by the AA scale (although this is not the most ingoing environment for it).

Questions:

Did your melody over the 7+5 chords include other tones from the AA scale?

Is there a reason you identified the D7+5 as CAA II, rather than DAA I?

Anyway, the reason for my question, was because I can totally see how the Lydian-derived parent scales expand the pool of vertical chord "colours" in a measureable way, but in my experimenting/observations, I find that Modal Genre kind of loses it's meaning in the Auxiliary scales. They do...

I enjoy using tonal areas that highlight both similarities and differences. For example, I am a big fan of pentatonic scales, but they can get boring in the wrong hands (mine, for example) - although Oriental music amazes me for how much emotional mileage is squezed out of this scale. What I like to...

Does anyone here employ any of the "Auxiliary" scales for chord-parenting? Although, theoretically, these scales can be used to navigate the more outgoing fringes of tonal gravity, I find that the only really useful scales from a chord-parenting POV are the Lydian-derived scales (L, LA, LD...

It's kind of like chromatic passing notes, even in early music (Baroque, Classical). If held for any amount of time, they would be unacceptably dissonant (back then, at least). But because they are sounded so briefly, and usually on unaccented beats, they kind of don't matter. What you're talking ab...