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#11 |
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Bringin' UR Kaos!
![]() Join Date: May 2005
Location: Albion
Posts: 9,567
Real Name: I have many...
Main Seven: C7 Hellraiser
Main ERG: Aria bass tuned in fifths
Rig: POD v2.0
Thanked: 200
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It'll be interesting to hear what you make of it...
I'm always interested in new perspectives on old topics...
Nothing like a good depressant to chase the blues away!
![]() www.soundclick.com/distressed_romeo http://farsideguitars.blogspot.com/ |
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#12 |
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8-0ctaves
Join Date: Feb 2006
Location: CA&HI
Posts: 322
Main Seven: 1987 Tobias 7-string bass & 8 octave Adler 12
Rig: Basson B310SC
Thanked: 6
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I bought the book many years ago when it cost less.....
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#13 |
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Bringin' UR Kaos!
![]() Join Date: May 2005
Location: Albion
Posts: 9,567
Real Name: I have many...
Main Seven: C7 Hellraiser
Main ERG: Aria bass tuned in fifths
Rig: POD v2.0
Thanked: 200
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Did you actually get much out of it?
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#14 |
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8-0ctaves
Join Date: Feb 2006
Location: CA&HI
Posts: 322
Main Seven: 1987 Tobias 7-string bass & 8 octave Adler 12
Rig: Basson B310SC
Thanked: 6
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The "bottom line" is there are 3 chord funtions and 9 chord families. Each chord family has scale sources that are the horizontal versions of the vertical stacks that make each chord family. The Lydian concept is basically using the IV chord as the I chord.
A description"The Lydian Scale was not chosen as the primary scale for this system of music theory because it sounds nice or has some subjective or historical significance. Since the interval of a fifth is the building block of tonal gravity, a seven-tone scale created by successive fifths establishes the most vertically unified harmonic order whereby the gravity falls down each fifth back to the singular Lydian tonic. When seven ascending consecutive fifths (i.e. – C, G, D, A, E, B, F#) are arranged within one single octave, the result is the Lydian Scale." |
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#15 |
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Bringin' UR Kaos!
![]() Join Date: May 2005
Location: Albion
Posts: 9,567
Real Name: I have many...
Main Seven: C7 Hellraiser
Main ERG: Aria bass tuned in fifths
Rig: POD v2.0
Thanked: 200
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
Hmmmm...It sounds like it's just different as opposed to being an improvement upon 'conventional' tonal thinking.
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