A short summary of this paper. Proofreading is one of my areas of expertise, and while reading through the LCC, I began taking notes. This article is the result of said notes. As instructed, I entered into this with an open mind, hoping to find the inner truth within this concept. Sadly, I found quite the opposite. The 11th harmonic is cents. The 11th overtone of C is neither an F perfect 4th nor an F augmented 4th as it is positioned squarely between the two.
The difference of 3. This means that natural 8D is an average of When using A 2A as our point of reference, its 13th overtone is Hz.
Tempered 6F is This also means that the chart on page is incorrect. The very first occurrence of any overtone which even approaches either a tempered or natural augmented 4th is the 23rd overtone.
Also note: The 21st overtone perfect fourth is much closer to being a true perfect fourth average Why not 6 notes or 8 notes or why not any number? What law of physics would suggest that a tonal center would continue to progressively generate perfect fifths going AWAY from its central point of gravity in order to imply an augmented 4th? Certainly not the overtone series qv. In order for a do to generate an ascending ladder of fifths to somehow eventually imply an augmented 4th, the overtones themselves would have to be producing overtones.
Beginning at 0A the lowest A on the piano keyboard It does not appear in at least the first 26 overtones of the overtone series. If do implies a major 6th in the overtone series, it certainly does so extremely weakly. A true major 6th does not occur in the overtone series until the 27th overtone. In addition, it is preceded in the overtone series by a b6 overtone In the LCC stack of fifths, the major 6th is the third 5th up from do.
Which places it squarely in the middle of the stack. We know that both the lydian and ionian major scales have a major 6th in them, but since weak overtones produce even weaker overtones, we are obliged to discredit the notion that do implies a major 6th by the generation of overtones producing overtones producing overtones. Which also automatically discredits the notion that a do implies a 4 by continually stacking overtones of overtones.
Yet we know the major 6th exists in the both those scales. How do we account for that? The do of the aeolian is the major 6th of the ionian! That circular relationship holds true no matter how many chords are in the chain, from the simplest V-I, to the ii-V-I, to the vi-ii-V-I, etc, etc, etc. Which is to say that the progression could go simply to the next chord around the circle, or clear up to all the way around the circle through all twelve chords and finally end up where it began.
A seven-chord pure circular progression beginning on an F can, of course, eventually arrive at some kind of C chord, but A three-chord circular progression beginning on an F will end on some kind of E chord, just as an eight-chord circular progression will eventually end up on some kind of F chord.
The fact is that these circular tendencies exist right across the board no matter how many chords there are in the circular progression. The existence of a seven-chord circular progression, while certainly possible, is exceedingly rare in music. In addition, when using the notes in C lydian G major , the chord built off of the F is a half-diminished 7th.
The most common use of a half-diminished 7th is in the minor ii-V-i progression, where the F half-diminished 7th moves up a perfect 4th to a typically altered B7 and then moves up another perfect 4th to finally resolve squarely on the tonic E minor.
In this instance it does not carry forward into the A, D, G, C circular chords, but comes to rest on the E minor. In this instance the F half- diminished chord acts in a dominant function as a rootless D9 resolving to the tonic G chord and resting there.
Another use of the half-diminished 7th is as an Altered Minor 7th chord. In this instance, the F m7b5 chord moves to some kind of B chord in exactly the same way that its unaltered counterpart F m7 would. It should be noted that an unaltered F m7 chord contains a C which certainly does not imply a C. In this instance, the progression would normally be felt as resolving to the G major a result of the immediately preceding Am7-D7 ii-V change.
If these are immutable laws of physics, then these laws should hold true right across the board and not only for the first 7 degrees. Just the elegant beauty of simple perfection.
Here, the b2 is introduced into the mix without a hitch, as it is the very next logical step and the next common scale tool after major modes and melodic minor scales have been derived. Russell Radially Symmetrical Scales J. Every practical chord possibility can be constructed from the notes found inside these scales and their modes. The eighth tone in that series is a augmented root. It must be hcromatic that the answers here are short and to the point.
Looks like another is available. A tonal gravity field is something not unlike a pitch-class region. Its contribution is relevant in all stylistic genres of music and from all time periods. Top Reviews Most recent Top Reviews. He has given seminars in this work around the world and has personally guided countless private students.
What is the primary difference between the Lydian Chromatic Concept and all other theories of music? A question or two: One of the beauties of The Concept is that it is designed for musicians and non-musicians alike.
What is Tonal Gravity? For example, if notes further up the circle of fifths e. Creative Aspects and Practice. I do not apologize for this seeming over-simplification, since as a music teacher, that is my highest purpose and goal.
For modern soloists, vertical thinking is the most direct method. There are currently a small number of instructors in the United States, Europe and Japan who are formally certified by George Russell to teach the Concept. Sign up using Email and Password. What is a Lydian Chromatic Scale? Russell focuses on the Lydian mode because it can be built with fifths. Click here to visit www. Here is another quote from the text in question that might help: Lydian Scale is more closely aligned to the natural, universal properties of sound than the conventional major scale.
So, even when we think vertically, we still need some diatonic reference to make good scale choices.
0コメント