To begin with we will join together two different scales.

In this example we have the Lydian Dominant scale joined at the octave by the same tonic note [C]. This is joined together with the Enigmatic scale.

As you play through this multi scale you will notice the smooth transition between the two different scales into one extended multi octave scale.

Below is a two octave version of the Lydian dominant and Enigmatic scale [Multi octave scale] with Guitar Tablature.

Here are 3 Lick Lines made from the extended Lydian Dom/Enigmatic scale

Scale Lick 1 [Superimposition]

Scale Lick 2: Chord to Scale

Scale Lick 3: Superimposition

SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier idea for a never ending scale. Each Lydian Tetrachord Resolves into the next one. This in turn seems to go on forever as it goes around the cycle of 5ths.

Also: Notice that unlike the first extended scale this one doesn’t have a common tone at the octave. So we go from C to C# to D# etc

SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar with Tablature

Here is a long piano version of the above that keeps ascending

This scale concept could also be looked at as being Mixolydian and a Modulating Scale.

We have A7-D E7-A B7-E F#7-B C#7-F# etc.

V-1 V-1 V-1 V-1 ETC

EXTENDED CONCEPTS: USEFUL IDEAS

Lennie Tristano’s Augmented 15th Arpeggio

Above is the “Classic’ Lennie Tristano superimposed #15 arpeggio for C Major7. The #15 sounds “Correct” because all of the 5ths in the arpeggio are PERFECT 5THS.

EXTENDING AND GOING BEYOND THE #15TH ARPEGGIO FOR THE FINAL SUPERIMPOSITION

TERTIAN HARMONY

If we keep stacking 3rds with superimposition and extension we create “Tertian” harmony. So, above a 15th we have a 17th, above that a 19th, above that a 21st and above that a 23rd. Hence a 23rd chord will use all 12 notes.

Below is a 23rd chord with a Major leaning

This example provides a 23rd chord with a minor leaning

Here we have a 23rd chord with an augmented leaning

Lastly we have a 23rd chord with a diminished  leaning

Going back to our old friend George Russell and the Lydian Chromatic Concept we become aware of the shifting of tonal gravity and what is available with a 23rd chord that shifts out and how we can manipulate it to create new ideas and avoid cliches. Also going back to our 1st example of Lennie Tritano’s #15th arpeggio we hear how we can exploit the perfect 5ths to make something not right “Sound” right but fresh and new.

How to create music and improvisation with the 23rd chord

Below is a great example of my personal favourite 23rd chord creating a lovely Tertian Stack.

This example also reverts back to our 12 tone blog for improvisation and jazz heads/tunes. There are 3 sets of TETRACHORDS. Or 3 sets of 4 note groupings.

Next we can take the same 23rd chord pitches and make Hexatonic or 2 groups of 6 from the 23rd chord tertian superimposition.

Finally we can make 3 note cells to form a 12 tone line from the same tertian 23rd chord extension.

23rd chord Improvised line ideas:

Employing 23rd chord outlines in Major, minor, diminished augmented.

Line 1

Line 2

Line 3

Line 4

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