Hello !
I was wondering if someone knew the reason(s) why GR may have put the introduction of prime (b7) with lyd.b7/aux.aug before prime (4) with aux.dim in 4th ed. while in previous editions aux. dim and prime (4) is introduced one step before aux.aug. and prime (b7).
perhaps one may have had the opportunity to directly ask the question at the time !?
remark: I reckon the order outgoing primes are introduced won't change their actual sound as each - is a quite particular case - introduces its own horizontal relations/intervals to the Lydian tonic.
see the 9 tone order is labelled as 'semi ingoing' (regardless of (+5) and (b3) order about which one may ask the same question with the same reserves, why (+5) before (b3) ?) and the 11 tone order as 'semi outgoing' - though (b7) is labelled as 10th and (4) as 11th as if there was still an "absolute vertical order".
remark+. I hope you won't answer it was an attempt to re-conciliate the WOTG and the circle of fifths to present the (b7) before the (4)
well well ... !!
I guess everyone would like to see 4th ed. [interval chart which may appear in] vol. 2.
music won't wait though.
cheers.
WOTG: b7 vs 4 why and why not
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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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chespernevins
- Posts: 368
- Joined: Sat Sep 16, 2006 7:34 am
Re: WOTG: b7 vs 4 why and why not
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 chord into chart A (giving us the lydian b7 scale). This expanded the "I and altered I" chord category, and added a fourth Lydian-based scale to the original three.
He must have deliberated on that one for a long time, I would guess... It might have had the appeal of keeping the ladder of 5ths more intact than the old way too...
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 chord into chart A (giving us the lydian b7 scale). This expanded the "I and altered I" chord category, and added a fourth Lydian-based scale to the original three.
He must have deliberated on that one for a long time, I would guess... It might have had the appeal of keeping the ladder of 5ths more intact than the old way too...
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guitarjazz
- Posts: 83
- Joined: Wed Dec 20, 2006 10:15 pm
Re: WOTG: b7 vs 4 why and why not
I agree with Chesper.