Well, I want to ask to you if we can share here some of the scale alliances we have made wearing the LCC. I mean, the original alliances founded for us when everyone interact whit this concept. In my case, I try, when I am in the middle of a fast change of chords which I could not relate in the same diatonic scale, to found a Lydian scale that can do it. In example, in two bars with this chords: CMaj7-C#7b9/ Am7, I use:
In CMaj7 a Vh alliance and in C#7b9 a +V alliance to found a F Lydian Chromatic environment, choosing the color of a F Lydian Augmented Scale. This is a very traditional alliance.
But, in other examples I use a table with all the Lydians Scales. Let´s take this progression: GMaj7- Bb7b9 / CMaj#11.
In GMaj7 I made a (I) alliance to found a G Lydian Chromatic environment.
For Bb7b9 I look at the table of all the Scales derived from the tonic G, and I found the notes that form this chord (Bb-D-F-Ab-B) in the G Auxiliar Dimished Blues (I think that this use is in SMG fashion, isn´t?. Then , I use this scales for both chords. I feel this very useful, and it sound very well, at least for me.
Progressions and scale alliances.
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An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice
An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice
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