Your question is essentially about making sense of the Parent Scale choice. This is a VTG topic. CDR is a description of behavior in HTG or SVTG.
Your solution, treating the Ab7 chord as belonging to the II PMG is certainly the most ingoing and a natural starting place. The LCC provides (as does any other 'jazz theory') many other chord/scale options. His use of Bb as the Parent Scale is a possibility, albeit remote.
ML's post @AAJ, nice voicings, question about the CDR
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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
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guitarjazz
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Fer Carranza
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Re: ML's post @AAJ, nice voicings, question about the CDR
This voice collection sounds more close to me like a Bb9 chord than a Ab9b5....
Re: ML's post @AAJ, nice voicings, question about the CDR
Fernando you say your hear the voicing top down D Bb f d c Ab sounds more Bb9 chord than a Ab9b5, even with a Ab in the bass ?! that's interesting.
otherwise, @guitarjazz and everyone, I was wondering if there is not an equivalence between Gb lydian augmented Bb lydian augmented and D lydian augmented as they share the same augmented triad and that is the augmented triad that sounds most characteristic with lydian augmented, as if one lydian augmented would sound a 'shortcut' to the others lydian augmented a maj third away ?
otherwise, @guitarjazz and everyone, I was wondering if there is not an equivalence between Gb lydian augmented Bb lydian augmented and D lydian augmented as they share the same augmented triad and that is the augmented triad that sounds most characteristic with lydian augmented, as if one lydian augmented would sound a 'shortcut' to the others lydian augmented a maj third away ?
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Fer Carranza
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Re: ML's post @AAJ, nice voicings, question about the CDR
Yes, it´s the third invertion of Bb7/9 chord with Ab in the root.....Bb9/Ab, and for me it´s a II degree of Ab Lydian Scale in his most ingoing association......Anatole wrote:Fernando you say your hear the voicing top down D Bb f d c Ab sounds more Bb9 chord than a Ab9b5, even with a Ab in the bass ?! that's interesting.