Hi,<BR><BR><B><I>Chuckk Hubbard <badmuthahubbard@gmail.com></I></B> a écrit : <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid"> <DIV><BR>>So when you say a mixolydian feel in lydian, are you saying put a flat<BR>>7 in the melody?<BR></DIV> <DIV>The flat seventh is the triton of the major third.</DIV> <DIV>It makes a chord unstable, the harmony has to be resolved to the major chord</DIV> <DIV>one fifth upside, the melody won't end won't be resolved until this major chord</DIV> <DIV>is not played, that's why a flat seventh chords gives suspens in a tune.</DIV> <DIV> </DIV> <DIV>>I don't understand this:<BR>>"we just have to insist on the pattern of the lydian arpeggio, for<BR>>having a lydian sounding mixolydian, where the chord would also tend<BR>>to be the fourth of the major scale with using the fifth note for the<BR>>bass."<BR>>Could you
give me an example?</DIV> <DIV> </DIV> <DIV>On a G7 playing F A B C E would make your melody sounding lydian,</DIV> <DIV>A C D E G, would make it sounding eolian, and so on...</DIV> <DIV>That's how I am thinking (I might be wrong with the term, but it gives beatiful results)</DIV> <DIV> </DIV> <DIV>> Zappa scores are hard to come by.</DIV> <DIV> </DIV> <DIV>If you want Zappa scores, I've made plenty. </DIV> <DIV>(and I share this scores with anyone that is motivated to play his music).</DIV> <DIV> </DIV> <DIV>I've made an example for showing what I've been telling about voicing,</DIV> <DIV>it's attached, the undocumented patch is just playing I - VI - II - V </DIV> <DIV>with following randomised notes, it's very basic, feel free to improve it.</DIV> <DIV> </DIV> <DIV>Patco.</DIV> <DIV><BR><BR> </DIV></BLOCKQUOTE><p> 
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