Official Scale for use in Blues

chespernevins · Post by **chespernevins** » Mon Mar 31, 2008 7:10 am

I assume that was a typo and you meant the VI chord, right?

I think that we are agreeing with each other while at the same time, are coming dangerously close to talking past each other.

Hi Db,

We do agree with each other. I mis-spoke about the VI chord - for some reason I was thinking major or something... Oops. (Can I blame the pain pills?

Anyway, I'm done with them now.) Unfortunately, one mistake like this can send us into a tailspin for a while.

Thank you for taking the time to clarify!

chespernevins · Post by **chespernevins** » Mon Mar 31, 2008 7:33 am

DB said:

To what extent do the member scales become available for use when in the realm of HTG through CMG?

Strachs said:

In my understanding, CMG's do not draw upon the resources of the member scales, but are limited to the 7-tone order scale, the Lydian scale. When we begin using member scales, we are no longer treating the modal genre as a horizontal one, but as a vertical one.

Strachs, as a rebuttal to this statement, check out the Bach example on pp. 152-153, where George uses a vertical C Lydian b3 Official Scale environment:

C D Eb E F# G A B

along with CMGs C Vh major (G Major) and CIIh major (D Major). The first two chords has G Major resolving in a sharp direction to D Major - but in the context of both chords being CMG chords (not exactly triads) in C LYD b3.

Bob · Post by **Bob** » Mon Mar 31, 2008 7:55 am

Can the CMG IIIh (aeolian), interpreted as a minor tonic station, then be re-interpreted as a VI minor tonic station, thus making the member scales of G LC available to it?

strachs · Post by **strachs** » Mon Mar 31, 2008 9:34 am

Dude, you are so right! I never noticed any references to CMG that allowed for a member scale. That changes things.

Back I go to pgs 208-215 (the basis of my "Thoughts on..." thread).

Bob · Post by **Bob** » Mon Mar 31, 2008 11:55 am

I'm still trying to sort out pp 122 - 126, while vamping on this:

||: C- [LYD.DIM I] C [LYD I]

|

strachs · Post by **strachs** » Mon Mar 31, 2008 12:21 pm

What REALLY is the difference between II and IIh?

I understand the difference between I and Ih, as well as VI and VIh (names used to convey horizontal scales imposed over those modal tonics - not REALLY expressing CMG's).

Bob · Post by **Bob** » Mon Mar 31, 2008 12:52 pm

strachs wrote:What REALLY is the difference between II and IIh?

Without referring back to the text. A IIv, expresses unity with say a D7 chord, it's vertical tonal gravity with C LYD as the parent scale and C the lydian tonic. IIh would be like blowing on D mixolydian, which only resolves to its D major triad. But I'll look up GR's distinction.

Bob · Post by **Bob** » Mon Mar 31, 2008 3:39 pm

Bob wrote:
strachs wrote:What REALLY is the difference between II and IIh?
But I'll look up GR's distinction.

On 126 says that if it's a v, you can use the 11 member scales of the parent LC with it. If it's an h, the 8 PMGS of the concptual parent LC scale (i.e., the far left column) resolve to it.

That makes sense because modal harmony isn't functional per se.