lydianchromaticconcept.com

dogbite wrote: but i think the point is valid whether or not the designation of [v,h] is applied to the II...

db

But of course. I wondered if the point was only valid applied to modal genres. Thanks for the clarification.

strachs wrote:Again on that diagram Bob posted....

Wouldn't it be cool if someone could make such a "interactive" slide-rule type tool to display the modes of a Principal Scale in all the keys, and how they bend and twist when morphed into the more outgoing scales?

If anyone knows the web develper who created that cycle of fifths page......

You read my mind. Rand@RandScullard.com I'd chip in to buy him a copy of LCCTO.

Is this a serviceable paraphrase of GR p.127 (last paragraph):

Look at example VIII:I. with the key of the music on Roman numeral I at the 6 o'clock position. Now imagine each point of the circle of 5ths, each with its own Chart A.

'Wheels within wheels.'

strachs wrote:Not sure if this helps..

It does indeed help.

And, on 128

[The 'wheels within wheels']...

is the full spectrum of possibilities provided by the LC scale for exloitation of SMG within a prevailing chord/parent scale alliance.... However, their use within VTG alliances must be carefully managed to sustain the integrity of the level of VTG,....

And on the HTG level getting there and back is the trick. So when exploiting I - V - I, mind the -'s. N'est pas?

"You read my mind. Rand@RandScullard.com I'd chip in to buy him a copy of LCCTO."

me too...

db

I think you are talking about SVTG as much as SMGs. You must be careful when adjusting the matter and anti-matter flux. Without HTG the ship might implode!

sandywilliams wrote:I think you are talking about SVTG as much as SMGs. You must be careful when adjusting the matter and anti-matter flux. Without HTG the ship might implode!

Can you say more about that?

I once made a CD mix..but not quite…it was entirely made up of different versions of ‘Round Midnight. I’m pretty sure they’re enough versions in the ol’ library to do the same with Autumn Leaves. This version would be a great addition. It’s fun to listen and compare…not for the ‘best’ or anything like that but like going to a museum and checking out how different painters paint an apple.

It sounded to my drummer's ears that Sr. Rubalcaba went through Charts A-Z on his solo. He's really fired up on that clip. I heard him live and his playing was quiet, sensitive, and austere. What a range of emotion this guys got. My old trio mate, Jeff Chambers, played with him for a while. I wonder what that was like. Jeff has amazing ears, which were an advantage, to say the least.

[quote="Bob"][quote="sandywilliams"]I think you are talking about SVTG as much as SMGs. You must be careful when adjusting the matter and anti-matter flux. Without HTG the ship might implode![/quote]
Can you say more about that?[/quote]
In SVTG it’s sort of like juggling a bundle of little Ferris wheels of tonality. I can’t say I can do it. I hear HTG as the element that centers all this activity. Without it you might need some Dramamine.

sandywilliams wrote:

Bob wrote:

sandywilliams wrote:

HTG as in chord substitution?

sandywilliams:

"I think you are talking about SVTG as much as SMGs. You must be careful when adjusting the matter and anti-matter flux. Without HTG the ship might implode!"

she can't take much more of this captain!

[quote="Bob"][quote="sandywilliams"][quote="Bob"][quote="sandywilliams"]
[quote]In SVTG it’s sort of like juggling a bundle of little Ferris wheels of tonality. I can’t say I can do it. I hear HTG as the element that centers all this activity. Without it you might need some Dramamine.[/quote]
HTG as in chord substitution?[/quote]
HTG is the thread that ties together chord substitution. Simply put: if you are reharmonizing a tune, the HTG of the melody usually stays the same. My Ipanema example shows how this is not always the case.

An effective 'slide rude' can be created by taking the 'The Lydian Chromatic Order of Tonal Gravity" table (http://lydianchromaticconcept.com/lccoto_2.html), setting the Interactive circle of fifths to the Lydian scale at the tonic of choice, and mentally juxtaposing Chart A. (Accommodating, of course, for making the b9 go to the back of the line.) (Then having the set theory calculator off to one side...) Pre-heat Sibelius to 350.