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Thread: List of Tendencies

  1. #61
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    @Motherlode

    Ah yes that clarifies things a bit. At a certain point I can't keep coming up with new "headers". I'm kinda at the mindset now of whatever the person wants to use, but then clarify with "Positive" "Blue", building blocks used etc..

    I have thought before why didn't Russell use "+2" and "+6", but then it gets a little weird labeling with "+3" and "+1". So instead maybe it was a better idea to just be consistent with the header and get the orientation to be the main thing.

    The CDR is exactly that then, the distance as far as how many connections through 5ths (x3), as long as the correct Lydian Tonics are used. It's not implying "Dark".

    And the Chord Categories are not implying dark by having a "b5" for instance. To the Lydian Tonic that could be completely positive. This really seems to be communicating what notes are being played in a language that most players know.

    Streamlined in a way that can be applied efficiently.

  2. #62
    Registered User motherlode's Avatar
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    @Ken Valentino

    Subjective terminology such as dark, light, positive, negative, etc. has to be translated into varying degrees of distance (objective terminology) before I can actually work with it.

    With the CDR, both flat and sharp sides are needed, because a lydian tonic can move anywhere.
    BUT, with TG only the sharp side is used, because the flat side is simply the inversion.
    Last edited by motherlode; 08-13-2017 at 09:20 AM.

  3. #63
    Registered User motherlode's Avatar
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    Please don't change anything that you're doing...just continue to refine it...
    --------------------------
    Let's do this, I'll take one of your algorithms posted here and treat it as if those are lydian tonics and create a CDR from the info.
    They're not lydian tonics, but it's the 'route' that I'm looking at...NOT the notes per se...then I'll write it into music.

    blueb3.png

    Key: C................................CDR
    ........+4...-2...-6...-3...-7...4...(I)...5...2...6...3...7...+4
    Bar:
    (1)............Db
    (2).......................Eb
    (3)............................................... ........A
    (4)............................................... ........................F#
    (5)............................................... ...D
    (6)............................................... .................B
    (7).............................................G
    (8)........................................C
    There's a wealth of information contained in that CDR, it's the music literally talkin' to you.

    For example, between the 2nd and 3rd bar, the music jumps from the flat-side to the sharp-side. The CDR points to maybe a suspension at that spot to ease the transition..things like that...
    --------------------------------
    Your algorithm produced this (it's quite good). Proper voicing ties the chords together like silk lace!

    #1 Gb-9sus ... Gbmaj9 #2 F-7#5 ... Ab9sus #3 F7#9#5 ... Db-13 #4 Ab69(b5)

    #5 Gb7#9#5 ... A13 #6 Db-11... #7 Eb7#9#5 ... Ab7#9b5 #8 C69(b5)
    Last edited by motherlode; 08-14-2017 at 06:10 PM.

  4. #64
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    @Motherlode
    Nice Stuff!

    I'm hearing a Blue 3 and Blue 6 and then maybe a Blue 4 after that quick sweep. So that definitely proves that the melody can have it's own flavor!
    Last edited by Ken Valentino 2; 08-21-2017 at 06:04 AM.

  5. #65
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    @Motherlode

    I added an actual bended version:
    http://freejazzinstitute.com/uploads..._Valentino.mp3


    I just overdubbed my guitar and panned it more to the right. I put bends in spots where I was perceiving them.


  6. #66
    Registered User motherlode's Avatar
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    @Ken Valentino

    Yeah Man, that's the sh*t! It's not the Blues, but it's awfully 'blue' lol ol

    Here's a re-post of the original Audio & Score


    http://freejazzinstitute.com/showpos...050_motherlode
    Last edited by motherlode; 08-16-2017 at 06:50 AM.

  7. #67
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    @Motherlode

    Awesome!

    Yeah the blue notes even resolve back when I compare each one to the next. And that Blue 4 is a hard one to get, but you set it up great!

  8. #68
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    @Motherlode

    Alright, here's the latest version. I hope you don't mind, I took a couple of liberties with it.

    http://freejazzinstitute.com/uploads..._Valentino.mp3
    Last edited by Ken Valentino 2; 08-13-2017 at 11:19 PM.

  9. #69
    Registered User motherlode's Avatar
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    @Ken Valentino
    I hope you don't mind, I took a couple of liberties with it.
    LOL...are you kidding? That's a take! I had the phrase play through 3x specifically for that reason.
    Last edited by motherlode; 08-15-2017 at 12:58 PM.

  10. #70
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    Ken, can you extend what you meant by
    So that definitely proves that the melody can have it's own flavor!

  11. #71
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    Even with a fair bit of knowledge of where ML's LCC base is coming from, this discussion is moving at such a clip it's quite the challenge!

    Doesn't help that I'm getting married in a month and so VERY short on time outside of work

    Really interesting though to see two very fertile minds in collaboration - long may it continue while I toil in the weeds.

    Tom

  12. #72
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    I didn't realise before that you could "loop" when listening to this last example. You have to right click on the mouse here: http://freejazzinstitute.com/uploads..._Valentino.mp3
    Last edited by Ken Valentino 2; 08-21-2017 at 06:31 AM.

  13. #73
    Registered User motherlode's Avatar
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    A last statement re: CDR

    The music returns to the tonal center from the sharp-side (1) step away. Nothing unusual about that…and that’s precisely the problem.

    ……………………….........…………….CDR
    ........+4...-2...-6...-3...-7...4...(I)...5...2...6...3...7...+4
    Bar:
    (7).............................................G
    (8)........................................C

    If we look at the harmony in that spot, it doesn’t appear to reflect the CDR at all ... we need clarification...

    #7 Eb7#9#5 (Eb Db Gb g b) ... Ab7#9b5 (Ab c Gb b d) #8 C69(b5)

    The lydian tonic for the ‘Eb7#9#5’ is (G) … nothing has changed.
    But, the lydian tonic for the ‘Ab7#9b5’ is (Gb).

    The music is now retuning to the tonal center from it's most extreme point...the (+4) ... that's highly unusual!

    Look to the voicing, the Eb-chord is supporting a ‘b’ the 3rd of the lydian tonic.
    And the Ab-chord is supporting a ‘d’ the 5th of the lydian tonic.

    That my friends is (another reason) why proper VOICING is sooooo important.

    Oh, I almost forgot, the last note that the guitar plays...'b'...it's not in a 'C69(b5)'.
    Last edited by motherlode; Today at 08:16 PM.

  14. #74
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    @Motherlode

    That makes sense. The Top note holds a unique position, it's the highest note. So if a chord doesn't have the same Lydian Tonic as the CDR, then I need to at least voice it with a simple positive number on top to harmonically attach to that CDR Lydian Tonic (Get the Lydian tonics to coexist).


    I'll play around with that and look at the other voicings,Thanks!

  15. #75
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    Ok so we have audio examples of our Positive Tonal Numbers, but I realize I haven't posted a resolution chart yet.



    Positive Tonal Numbers - Resolution Chart 2.jpg

    I'm going to post this first, next I'll give details.

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