The Lydian Chromatic Concept Ep. 3: Tonal Gravity 

You can find a PDF on the internet. I did.

Thanks Harry!

Thanks for checking it out, Dan!

Exactly, the F works the same in A natural minor as it does in the C major scale. It's really a beautiful thing in the context of a whole lotta music because it creates the feeling of forward motion by creating the sound of that resolution (from F Lydian to C Lydian). However, if you're trying to hang out on any note of the scale, lydian and dorian give you that harmonic unity.

The strange scales are my favorite part, but I've gotta lay the groundwork to make 'em make sense. Strange scales begin in episode 5. Glad I could fill in some holes in the meantime!

I think the ladder of fifths supports a 12 note chromatic scale, but a lot of compromises have to be made to allow for an equal tempered system that can be played across many octaves. I feel like there always has to be a balance between the objective nature of sound and the subjective cultural conventions that influence the way we use that sound.

I’m pretty sure because we already got 7 notes out of it, but if you think those upper extensions sound outside I don’t see why you wouldn’t use them! But also as a general rule b9 over a ^7 isn’t the greatest, but try for yourself!

Try those scale degrees over an altered chord!

It does continue up to include all 12 notes in the chromatic scale, which will also give you the modes of melodic minor, harmonic minor, whole tone, diminished, and so on. This is possibly my favorite part of the LCC. I'll cover this in detail in episode 5, but it definitely requires its own video, and I thought it would be best to stop at the first seven tones of lydian for now.

Thanks! I’ll be doing some more harmonic analysis in the next video that will hopefully shed some more light on how it might be useful.

The lydian Chromatic Concept does not use the overtone series to build scales (even though he mentions it in a footnote that the f# comes before the F in the harmonic series). It uses the fundamental interval of a fifth which is the earliest 'interval' in the overtone series (after the unison and octave which expresses just the same note really) because as stated in this video that is the interval that bests reflects tonal gravity. The scale is then built up on perfect fifths stacked one on top of another so apart from that fundamental interval nothing really to do with the harmonic series. I think it's been pretty well explained up to now.

Thanks

He's playing a tenor banjo :) Which is tuned GDAE, like a violin.

Thanks! It is indeed a tenor banjo tuned to G, D, A, E, but I’m glad you like the illustration of the harmonic series!

Tenor banjo is usually tuned C G D A but Irish tenor tenor tuning is usually G D A E. Makes it easier to play jigs and reels in the first position, like a fiddle.

@@stephencook4577 Bingo, I'm out here playing jigs and reels. ☘🤘

I see your point, and melody is often the most important component in analysis and composition, but I'm assuming anybody who's diving into lydian chromatic videos already has some idea of what I mean by a plagal cadence in conventional theory. My point is just to establish the perspective to view it as F lydian to C lydian. The melody in this case is the top voice of each of the chords, and it's not unusual to have a melody that is one note per chord (especially in an "amen" cadence), but you're right that I could have made the IV-I cadence clearer by establishing C as the tonic before moving to F. Either way, nothing about this is dangerous, and I think a little reckless experimentation is likely to contribute to the increased understanding and ability of any student of composition or improvisation with virtually no resulting injury or loss of human life.

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-R5WHWGx7S7U.html

It’s a great question. European classical music actually started with modes and later shifted to the use of major and minor keys in (if I remember correctly) the beginning of the 1700’s. If you want to dive deep, there’s a great book by Joel Lester called Between Modes and Keys that covers this transition.

​@@RidgewoodSchoolofMusic I must admit I got rather lost towards the end of this video but I do like the theory with bob series. Maybe a future video could go back a step and look in more detail at modal music more generally and why it switched to harmonic?

@@philiphall8325 I find it easiest to think of modes as the major scale but starting at different notes, much like how the relative minor will start on the 6, the relative dorian will start on the 2. Look up the mode order, and start the major scale in those respective places! Don’t forget to take a look at melodic minor modes too eventually!

@@RidgewoodSchoolofMusic Thanks!

So much of it is what “the ear” is used to hearing… and what it demands of what comes next. I love the opening of Vincent Persichetti’s “Twentieth Century Harmony”: “Any tone can succeed any other tone, any tone can sound simultaneously with any other tone or tones, and any group of tones can be followed by any other group of tones…” unless you want to write a Top 40 Hit… 🥴

There’s a book

@bobbyspellman You're doing great, don't change a thing.

@@scottdrake5159 bs,ur a fraud, you dont really think that ,the fact is that you have a hard time with real criticism, it hurt ur feelings, but what u should take away is honest REAL feedback, it could help you with future content,but ur type wud never admit this

Full 15 minutes of explanation to not demonstrating anything useful.

Years of study and dedication, and you are demanding explanation in a few minutes 🤔... This *is a video made by a musician, not by TV. It's RU-vid, not TikTok. Just chill out, bros