Orders 8-12

Andrew · Post by **Andrew** » Tue Jul 29, 2008 8:47 pm

Why do you think they are arranged the way George Russell arranges them? (+5, -3, -7, 4, -2). This frustrates the normal order of fifths.

P.S I think George is right in arranging it this way, and I have my reasons, I just want to know what you guys think.

Post by **sandywilliams** » Thu Jul 31, 2008 3:03 pm

It has to do with the chords that each tone propagates. To jump from +4 to â€“2 wouldnâ€™t yield the correct hues of chord sounds to create a useable ingoing/outgoing continuum.
Does this jive with your idea?

Andrew · Post by **Andrew** » Tue Aug 05, 2008 5:25 pm

Yes that jives

. Particularly, with the 11 and 12 TO, you are able to make alternate Lydian Modes easily, whereas with Orders 8-10 more or less just make altered Lydians.

Example, Official scale with C Db D E F# G A B, 12 TO. There is a an Alternate Lydian Tonic that's embedded with this scale, G Lydian, G A B C# D E F#.

I do think there is a difference between an Outgoing tone vs. an outgoing sound. Example, an OS with C D Eb F# G Ab B is going to produce a more outgoing sound than an OS with C Db D E F# G A B.

Post by **sandywilliams** » Mon Sep 08, 2008 6:51 pm

"I do think there is a difference between an Outgoing tone vs. an outgoing sound. Example, an OS with C D Eb F# G Ab B is going to produce a more outgoing sound than an OS with C Db D E F# G A B."

Can you explain this a little more?