lydianchromaticconcept.com

Hi Subhraag, Amazing instrument you have created, and great sounds! Nice work. I have sometimes thought about what an intersection of LCC and microtonal music might yield, but haven't gone too far with it. I'd be interested to hear some of your thoughts. I did have the good fortune to study the 72 n...

Great stuff, Nate. Thanks for sharing. As usual, I wish I understood more about what he's referring to, but oh well, I guess.

I suppose what you are doing - experimenting with composing - is the best way to proceed!

Keep it up and let us know how it goes!

Great thoughts Nate!

I wonder if technically only melody can be horizontal, and not a chord progression?

But then again, who cares what we label it, if we know what we are discussing. Would love to hear what kind of things you and the student come up with.

Hey Nate, I like this. This is something that I think I hear in Paul Bley's "All the Things You Are" solo on the Sonny Meets Hawk record. Given an A section of the tune, Bley at one point starts with a flat lying LT and modulates his melody to a sharp-lying LT. It gives the melody a very p...

One interesting thing about tonal gravity intervals and scales. In the key of Db Lydian, Ab is the second strongest note there is. Therefore, you would think that Ab should always be a very consonant note in any given Db Lydian context. However, if we play an Eb7+11 chord and play an Ab over it, it ...

@CN, in your precedent post you were saying melody, bass, chords and voice leadings intersect/superimpose vertically and horizontally (resolving tendencies). I quite don't get why are we often looking at the lydian tonics for the chords (or groups of chords) rather than looking at the successive in...

Hi Fer, Yes, good stuff. This is what Motherlode always talked about and we had many discussions on these boards about it. FYI, the chart posted by Joe is from the old book and therefore follows the "old" order of Tonal Gravity. The new book has a revised order of Tonal Gravity, however th...

Sorry for the slow reply, I don't check in here that often these days. Just to move this discussion forward one step... The first step is to get as grounded a view (or analysis) of the tune as possible. What I would do would be to look at the analysis of the progression from a combination of functio...

Congratulations on producing a new album, Fer!

Maybe you've heard this before... I think I heard him say once that the fact the overtone series itself forms a lydian b7 chordscale, and also the fact that it is a common occurrence to hear a Maj(b7) chord as a I chord, inspired him to consider putting a scale that has the Maj (b7) chord as the I c...

Isaac,

Really nice stuff. I look forward to looking at it more in depth.

I wonder if you would give us more of an idea what you mean by "matrix", minimum gravity, and how you used aleatory practices to come up with the harmony?

Thanks for sharing!

Thanks Fer! Glad you got something out of that!

Unfortunately, the “skipping a fifth” example as an explanation of the WOTG often seems to generate more questions that it answers. I have my own thought process on this topic. The Lydian scale is a finite, 7-note entity. There is a natural limiting factor that does not allow it to go beyond the 7th...

Another question on this. I have a tune recently where I have to blow on an extended A7#9 chord (actually, I am transposing it from E7#9 to fit this thread, but let's say it's A7#9). It's a funky, bluesy thing where there is not a ton of room for outness, and it's not a jazz-like altered #5#9. So I'...

so how is lydian aug. the primary home scale for the 7th#9 !? (7th#9 with a p5 and not a #5) I don't think it is. For a 7th chord, without a #5, we look at the II category (Seventh / Altered Seventh) first. Go down the II column until you find a 7 #9, which would be Auxiliary Diminished. The VII ch...