This is very cool. I was playing through the harmonics on one guitar strings recently and noticed that it is the b7 that appears... So yeah, the universe wants us to play jazz and blues. I'll have to see about this again, as Lydian has the natural/major 7th. But it goes to show, there are far more possible ways to organize scales than the "usual" way.

If you're usingchromatic modal melodic minor structure over chords tones; lydian dominant and other modes are already such a great reharmonization or substitution for altered chords. This makes it easy to superimpose one shape to match altered harmony. It's very efficient to use these. Love the ease of modifying lydian from the same tonal center. Most reharmonization employs the technique over separate modes every time. Always concise lessons and theory, and complimentary puns!

@RichieZellon

4 жыл бұрын

Absolutely...thanks!

clear and concise well explained the door is finally open, i guess now it is time to step through and see where it leads thanks so much be safe, be happy, work hard peace \m/

G. Russell also taught to think about dominant to tonic as tonal gravity moving upward (ex. F Lydian contains the G mixolydian (G7), so G7 to C is actually F lydian expressing upward Tonal Gravity to C Lydian.) For George, there were a limited number of Scales (Lydian, Lydian Dominant, Lydian Diminished, Lydian Augmented, Symmetrical Diminished, Augmented, and Blues scale (which, if memory serves, was considered a Horizontal Tonal Gravity Scale. So, once you were conversant in the different scales you could freely and effectively access any of them over the matching chord. (ex. any of the previously mentioned scales in F could be employed as melodic source material over a G7 chord) The ultimate goal was to access the complete Lydian Chromatic Scale in one's improvisation (and composition) -- essentially having access to utilizing all 12 pitches over any scale because you would understand the tonal gravity of that pitch and/or scale.

Smooth as silk......Miles ahead with Russel, nice one sir!

Such a nice and thorough explanation, thank you so much for your kind contribution for the music community!

@RichieZellon

2 жыл бұрын

Thanks Marco, much appreciated!

I'm surprised that I'm just finding out about this concept! This is wayyyy beyond useful.

I was waiting for you to make a vid about this

Great lesson, just what I was looking for. Thanks so much!

Excellent video and cool explanation of a deep concept. Loved it🤘🏼

nice groove Richie. When I got the notification this was uploaded I was deep in vinyl jazz on i-heart radio, a nice apertiffe.(misspelled).

Thank you for this very important lesson...Blessings to you sir ! :-)

Fantastic as always!

I really love his hat and energy 😍🤣

@raywoods2071

3 жыл бұрын

I agree. And as my "aero jazz" band mates can attest, I play better when I'm wearing my lid - a beret. It takes me right to the hep cat zone. ;-)

@pedroberoes49

3 жыл бұрын

Agreed a very Zawinul vibe

@noi5emaker

2 жыл бұрын

@@raywoods2071 That's fascinating! I'm sure it's all about being in the zone, but if you study alter egos and stagecraft, there's a lot of science behind changing one thing and becoming the person you need to be onstage. Some go as far as taking on another persona and name, but a shirt / hat / necktie or glasses can have the same effect. You may have accidentally tapped into your own secret!

Thanks Richie! Love these videos!You are an amazing teacher!

@RichieZellon

4 жыл бұрын

Thanks Lindsay, much appreciated!

Thanks for this Richie! Love the channel!

@RichieZellon

4 жыл бұрын

Much appreciated!

fascinating lesson with a healthy dose of practical application. Personally I really like this sound and will be looking for (discrete) utilization... Thank You! B-)

Excellent video. I've thought about this for years and yet never dived in. My modal noodling has been lame. This looks like a good way in. Thanks for getting me thinking about it.

@RichieZellon

4 жыл бұрын

Glad it was helpful!

amazing lesson and info!

Great video, nice job explaining instant fan!

This is such a wonderful video

This is really brilliant, Richie. These are some very complicated concepts and you lay the whole thing out so clearly: history, theory, when to use it, how to use it, and some of your own personal guidance. I think most of the controversy is because people don't understand all this but I think the controversy would disappear if everyone would listen to your explanations. I have been trying to understand this for years and you have finally given me the knowledge I have been seeking. You deserve a Nobel Prize for this!!

@RichieZellon

4 жыл бұрын

Thanks Dave, glad to be of help! The truth is I couldn't fully understand its application until a student of George Russell carefully explained it to me. However, even after understanding it, the controversy still remains for many due to the effort involved in changing your entire theoretical perspective in order to apply this system.

@DaveKaplowitz

3 жыл бұрын

@@RichieZellon It's great that you had one of his students explain the system to you., Richie .The book is really hard to understand and the system is so different than the Western tonal music that came before it. I can see the difficulty that people have with it if you try to understand the whole system. But they way you explain it, it helps me think differently when I approach modal tunes, especially if I want to get a Lydian sound which is really cool. I have been a big fan of George Russell's music for many years and to me it is the sound of mid-century modernism. He was an amazing arranger also which is a big part of it, but now I understand a lot of what you hear in his music is the Lydian sound, often superimposed over other chords as you show in the video. Thanks for helping us understand how to make some of these cool sounds!

Great stuff (after I recovered from my head exploding)!

Really cool kippah. I wouldn’t mind wearing one like that. Nice video. Thanx. Peace.

@RichieZellon

3 жыл бұрын

Todah...Shalom!

Great lesson thank you! 🙏🏼

omfg why are so many people trying to argue with George Russell's theories when they CLEARLY have not actually read the book??? and then they go and post their own shitty theory advice in the comments instead of putting in the work >:(

Fantastic!

@RichieZellon

5 ай бұрын

Many thanks!

love it!!

I love your playing

@RichieZellon

17 күн бұрын

Thanks, much appreciated!

роскошная теоретическая презентация. многих лет вам )!

@RichieZellon

3 жыл бұрын

Спасибо!

Mixed feelings on this. This seems incredibly ambitious, and I salute you for attacking it. When I first got interested in the LCC decades ago, I found that getting a copy of THE "book" on LCC was very expensive (hundreds of dollars), and my sense is this might have been much more successful (or at least understood) if it had been made more accessible. As a result most musicians I knew blew it off, and I have to say that Russell's personal musical output never seemed dramatically different to my ears. One would think that such an insightful approach might have yielded broader interest. You have certainly shared more than the overtone series which is usually where it starts and ends. I really didn't understand how you tried to equate LCC to horizontal playing. True, Miles explored these both, but it doesn't make sense that a horizontal approach is going to use chord scales on each chord (even if they are different than the typical major scale approach); that just seems to be a contradiction. Perhaps I am missing something. I don't understand intellectual property rights, but I'd like to see someone present a comprehensive written treatment of LCC at a reasonable cost. The YT route seems like an admirable but less than satisfying vehicle as it caters to how to learn music in 10 minutes treatises. Surely this merits something better.

@RichieZellon

4 жыл бұрын

Thanks for your feedback! The LCC is what it is and often misunderstood by many. Most musicians don't care for it because it requires that you re-train your mind to understand the music from a totally different angle. The truth is that if you hear 2 musicians playing over the same tune, where one is using it and the other isn't, you probably wouldn't hear a significant difference that would reveal this. That's because the concept is mainly to provide a different perspective for the musician to approach the chord changes, and not so much for a radically different listener experience. As far as the tendency to play more "horizontally" , I'm sorry I can't give you more examples at this time but this tends to occur naturally when superimposing the various lydian related scales over a single root. Again, all of this is very hard to explain in a short KZread video...but I took my chances for those who want an introduction and decide to explore it further.

@jimkangas4176

4 жыл бұрын

@@RichieZellon and we thank you for that

so cool!!!!

Brilliant.

i really like your channel and its fun to watch too!

@TheRmoroni

4 жыл бұрын

i spent way to long with my nose in that book looking for arcane secrets. it was an adventure but i found going back to conventional theory had the answers.another exotic interpretation of theory is pat martinos approach.you can invent any number of strange routes but they had it figured hundreds of years ago!

@RichieZellon

4 жыл бұрын

Thank you so much!

These are moods. I need this for piano. I be stuck on what to play when I’m using those chords

@chapterrv

3 жыл бұрын

Same, bro

Great video on this. You're so NICE about everything around it - kinda like the "Vincent Price" of Jazz Guitar Instruction ! You know...."You WILL learn the Lydian Chromatic Concept, or I will KEEL you in your Sleep tonight....Moo-Wah-Ha-Ha !" Cool :)

@RichieZellon

4 жыл бұрын

Thanks! 😆

AWE INSPIRING!

What was Bill Evans practicing? He studied with George, too. Nice job V stacking on guitar, and great video. -- even if abbreviated.

O kara foi simplesmnte um Genio!!!

I would definitely consider using the Lydian Chromatic concept in my playing...the only problem is I still have no bloody idea what that means. Just kidding, this is very interesting! I probably grasped about 80% of it, which is about the right amount to motivate me to watch this again (maybe tomorrow) without feeling overwhelmed or intimidated. Very tasty playing as well, which makes the process seem worth following through with.

@reginaldgreen6221

3 жыл бұрын

It's not hard at all my friend. It's knowing your scales, except you would start on a different not

love it

Miles was very eclectic. He used to come to philly and spend some afternoons talking with my teacher Dennis Sandole, a lesser known educator who taught Trane.

@RichieZellon

2 жыл бұрын

That's great that you studied with Sandole! I still have the only book he put out. I was turned on to some of his teaching concepts through Pat Martino during a lesson back in the 70s.

@leegollin4417

2 жыл бұрын

@@RichieZellon I have an unpublished book of his called Scale Lore....it's super deep.

I have been talking about this for a while but not a lot of people understand. I can show them this video now :)

Great video! I'm an old rock guy but Jazz newbie. I've known about & used modes for a long time but only ever in a diatonic root relationship with harmonised chords (if that makes sense). I never realised that they were superposable in the way you have described. I did play around with Lydian over M7 for a while but thought that was a fluke :) Thank you so much! I will watch this again a few times then follow your link :) And we get sweep picking? on a Jazz box! ? :)

I’m confused because I thought George Russell had not yet recorded any of this theoretical material until 1961 on East-thetic (with my favorite ever, Eric dolphy) containing writhing the piano comping many of the Lydian Altered sounds (not so much in the Melodie’s). Kind of blue came before in 1958-1959, before this. I read somewhere that kind of blue was an open interepretetin on old bebop forms with heavy influence of musicians like Stravinsky and free tonality experimentation from early monk and Coleman’s work on shape of jazz to come? Total hypo conjecture on my part, but I love the video!!! I’m a huge George Russell fan 🎉

@d_d88888

Жыл бұрын

*Ezz-thetic, dang auto incorrect lol

@RichieZellon

Жыл бұрын

George Russell formulated the Lydian Chromatic Concept in the mid 50's and was teaching it and sharing it with other musicians ( among them Miles), before he recorded his own music several years later. I had the good fortune of studying briefly with one of his students at the New England Conservatory.

This video is only a intro of the concept, 20%. You can use for everything in music, including composition, reharm, composition. Not only vertically, horizontally and mixes of the two... It's a Complete Concept for music at any levels, chromatic, modal and tonal.

@cyanhallows7809

3 жыл бұрын

It is also very flawed and niche

You can't do that! Jazz schools will go out of business is you give out their precious secrets! Could we please have a video on Nature Boy :) such a timeless tune

@JamesSpeiser

3 жыл бұрын

dude check out the Robert Yelin book Jazz Classics for Solo Guitar arrangement!!

@turretstudios9907

3 жыл бұрын

@@JamesSpeiser will do thanks!!

However, the avoid note, the perfect forth up from the root can be played when approached from above. And by following this rule in reverse now treating the fifth as a root , now the perfect forth below this new root can be played when approached from below. It sounds as if the note wants to hide and grows "quieter", and not clash. Regarding the lydian #5 scale I'd usually employ it as the third of melodic minor, or 7th of Lydian b7 chord, and you say just lydian at 11:15 , that would make the M7 chord whole step above sound as Mixolydian, if I understand it correctly. Thanks for sharing, great stuff.

@jpwjr1199

3 жыл бұрын

Yeah, the whole "avoid note" is a crock of shit if you ask me. If the key of a song is F Major then Bb has to be in the melodic conversation. Period. There are/were guys like Barry Harris (be-bop pianist), who will straight tell you that playing B there over a straight F Maj is just plain wrong. In fact, he'd go as far to say that if you played a B over a Dm chord in a song in the key of F, then that's wrong as well unless the B is used chromatically as a passing tone. There's a reason the F scale has Bb. It's not esoteric, it's part of Western harmony. If you want to truly leave Western harmony, that's fine, improvise with gamelans. Don't fucking half-ass it. Otherwise, acceptance is key. lol

@1000BrokenKeys

3 жыл бұрын

@@jpwjr1199 I don't really perceive the avoid note to be avoided, because as you said it, it is a part of the western harmony, and I hasten to add, that without the avoid note, the sound of any mode would not be complete. And in the chords of quartal harmony, these avoid notes I'd imagine , are even desired (?) . What I like to do in my playing when ascending, I skip the forth above my bottom root and play the 4th after when I go above the 4th. And when descending , I skip the forth below my top root and play the 4th after I pass below the 4th , in any scale in my shredding patterns. You are welcome to check my playing on my channel to hear what I mean ;) In this way I think I believe, this "avoid" note has stronger character, and I does not mean, it always sounds "harmonious", rather it completes the character of modes. I do not play jazz ( I have to arrive to jazz as to something I found in myself and I have not found it yet) ), I came across the Lydian chromatic concept through Pebber Brown's channel, I am into modal music, and every mode (I have my favourites though) of major scale, harmonic Major and harmonic minor and melodic minor, which are a big piece to compute as well as the application of ideas on the fly, which is another chapter. I am still chewing through it several years later :D The harmonic Major and harmonic minor modal pentatonic arpeggios are so tricky, are very interesting and kept me awake many nights lol. In my modal pentatonic arpeggios I usually skip the 4ths as I described above, exception are types of ascending Lydian (I use the 4th above the root) and descending Locrian (I use the 4th below the root) arpeggios. I shred a lot more than arpeggiate, because my shredding is more complete and can focus easier on the mechanics of my picking technique, I'm lefty picking righty, .... yea there is a lot on my plate, but I love it and sometimes it drives me insane :D

@jpwjr1199

3 жыл бұрын

@@1000BrokenKeys I truly appreciate your reply and your work. I just can't be that systematic, personally, especially when there are only 12 tones and anyone can make any justification to use any of them in any context (justified or not). It all boils down to how far away from Schoenberg you want to get at some point, and jazz music, which used to be street music, IMO wasn't originally intended to be quite that officious/pedantic. At some point, with improvisational music you have to be willing to risk not knowing exactly what you are going to do next, throw away your conventions, and just play, even if you wind up with notes you didn't intend or didn't want, or wish you could have back. That's the danger of improvisation and without that, why fucking bother if you ask me! This doesn't even cover the more important aspect of the context provided from what the other musicians bring to the table, which is often the most important thing. What you do decide to play or not should be predicated on that, if others are involved at all.

@1000BrokenKeys

3 жыл бұрын

@@jpwjr1199 thank you and I too appreciate your findings. I have to agree, but not just with jazz, I think, music was not started as a "science", before music became a study matter, surely, it must have been just a trial and error to find what pleased the human ear and soul. However, science and "modern scientific theories" I bet developed the music beyond the wildest imagination of even Pythagoras himself. And then there is the playful element to the music, which as you said is the improvisation and breaking the rules without realising it. To me, science helps to memorise stuff by reasoning and logic, which outlasts mere memory imho, and then on these new methods perhaps can be built on with new ideas and as the jazz goes, it is developed further and further and may have departed from the original invention into new breed of jazz, but I know jazz only superficially, I just don't fully appreciate it. I feel the same with every tune, the harmonies have jazzy halo, but to my ear, the emotion/flavour only changes with tempo and articulation and phrasing. I prefer modal music, each mode's harmony has different flavour on its own already even before changing tempo and articulation and phrasing, but that is just my preference . Through my longer recordings of my musical ideas following certain rules and methods, I get moments, when I forget following them, and they are usually the most surprising and most melodic and atmospheric phrases, I could not come up with if I though about them. In the band scenario, I'd have to go slow to familiarise myself with everybody's input and see what bit needs filled in, so the tune would not be too busy which of course causes a listening and interest fatigue, and I also fully agree, and I will just put it in different words, the fewer people are involved, the more free hand one can have ;)

@kodowdus

3 жыл бұрын

It seems to me that half the appeal of the pentatonic scale (whether the listener is a fan of traditional Japanese music or of Duane Allman) must have to do with their non-use of "avoid notes"...

Great lesson, Richie! It's amazing that we're still using Kind of Blue as a cornerstone after all these years. What a record. Anyway, I have a suggestion - is it possible to add a "Pay What You Like" option when purchasing sets of PDFs? $6 is only £4.45 here, and that won't get you a coffee and a snack!

@RichieZellon

2 жыл бұрын

Thanks Nick! Unfortunately if I add a "pay what you like" option, most people will end up paying $1 or less. You would be surprised at how many people complain that it should all be free. Regardless, I will soon have to raise the price. 😔

@noi5emaker

2 жыл бұрын

@@RichieZellon Oh I bet they would… cheapskates! I’m sure THEY don’t work for free! I was hoping there would be something like a minimum Pay what you like, but I guess that’s getting into a complicated eCommerce system (something I worked with in a previous life!). Anyway, I hope it’s working well for you. Keep up the fabulous content!

In Germany music education is based on F major as the basic scale rather than C major. So their notes ABCDEFG are ABflatCDEFG for us. Our B natural is called H or Ha. So this means that from the beginning you have to start thinking about scales in a more sophisticated way.

@RichieZellon

3 жыл бұрын

I was not aware of that. Thanks for sharing!

the idea with this Lydian system being being horizontal, and in relation to modal changes, is that you're playing notes closer to each other, rather than long stretched out passages? that works well with the trumpet.

Hi Richie, thanks for the lesson. Over the ii/V D-/G7 isn't F Lydian the same as D Dorian and G Mixolyian? And if so, what's the benefit of calling it F Lydian in that situation?

@RichieZellon

4 жыл бұрын

It has the same notes only that your focus is on the F Lydian as the center over both chords. It's just another perspective...actually George Russell's not mine... :)

@johnnewell552

3 жыл бұрын

Is the answer here as simple as tonal center? Asking for a friend.

Other than the Lydian, these are modes of the melodic minor scale. For many, it's less complicated and more straight forward to just get to know the chords (triads and 7ths) that a harmonized melodic minor creates, then play the melodic minor as appropriate. Also, a Bb Lydian over a C7 is (note wise) the same as F major. So that doesn't solve your "avoid" perfect fourth against the major 3rd of the C7. Again, for many, if you're looking for extensions, use a melodic minor a fifth up from the root of the chord and/or a half step above (altered sound). Even a step below is good, but you still need to watch that perfect 4th vs major 3rd. ::-)

"Fift", lol. Thanks for the video.

I’d love to hear you actually soloing over the changes instead of playing scales.

Hey there JGC! When you state that "the perfect 5th is the foundation" of the overtone series, how are you defining "foundation"? Thanks. Great stuff here, by the way :)

@RichieZellon

3 жыл бұрын

It's the first interval at the bottom of the overtone series.

@ForcesInMotion

3 жыл бұрын

@@RichieZellon Thanks for responding, JGC. I am for sure no expert, but I thought the first interval up from the fundamental in the overtone series was an octave. I guess I was wrong...

@RichieZellon

3 жыл бұрын

@@ForcesInMotion Excuse my wording, but what I meant was the first interval using 2 different notes.

@ForcesInMotion

3 жыл бұрын

@@RichieZellon Honestly not trying to be a jerk, but in my opinion, 2 notes that are an octave apart, are different notes. Just sayin'...

@RichieZellon

3 жыл бұрын

@@ForcesInMotion Nope, it's the same note. The note C and another C an 8ve up or down is still a C! You are confusing notes with pitches which can differ.

what about staking 4ths? is the same system right? only inverted? staking b5s could be almost anything right?

When doing the A TRAIN example, he used lydian with different keys (not the root of the chord). Does he explain why he chose those specific lydian scales or can someone else explain in layman's terms? (I'm not a professional musician)

@sebastianwierzba6237

3 жыл бұрын

In the ii-v's (going to the root) he uses the lydian scale of the chord that is a whole step before the v (the fourth) that's why he plays f lydian over d-7 g7 and then c lydian con the c major chord. Al least i understanded that.

@MrCashK

3 жыл бұрын

@@sebastianwierzba6237 thank you so much! Totally get it now! So any ii-V-I, youre safe to play the lydian of the fourth scale degree relative to the major tonic?

@sebastianwierzba6237

3 жыл бұрын

@@MrCashK ur welcome, u are safe for the ii-v part, once you get to the 1 you have ti switch to the lydian of the 1st chord (that would be the ionian of the key, so you raise the fourth)

would have preferred to know it's a preview at the beginning.

Do you upload some of these as podcasts? I think they would work good as audio on the go or in the shed

@RichieZellon

3 жыл бұрын

Thanks, I will keep that in mind!

The major 7th#5 (major 7th+5) chord isn't used much in jazz or popular music. I only occasionally use it as a passing chord. For example, in the key of E major: Emaj7 to Emaj7+5 to one of the following: Amaj7, C#m7, or F#m7, voiced such that there is a voice-leading, ascending chromatic motion of these notes: B to C to C#.

@josdurkstraful

2 жыл бұрын

Listen to John McLaughlin or Alan Holdsworth.

@RicardoMarlowFlamenco

Жыл бұрын

Bach used it a lot in minor key pieces when encountering the III chord in a cycle of 4th coming from VII moving to VI, basically raise the 5th and let the major 7 carry over from previous chord.

Not a jazz musician, but I understand this and I think it will definitely be worth investing in and investigating further. I like the way it simplifies thought processes while providing interesting sounds. Thanks for the video I got so much out of it. Cheers.

@RichieZellon

3 жыл бұрын

Thanks, glad it was helpful!

@Sebastianandthedeepbluemusic

3 жыл бұрын

The Jazz Guitar Channel yeah really looking forward to watching more of your videos 😀

Lydian us the "parental scale" all the modes flow forth from it.

People seem to have a really hard time pronouncing 'fifth'. I often hear it spoken as 'fith', but this is the first time hearing it as 'fift'

@RichieZellon

Жыл бұрын

Very interesting...so this is what you got from the lesson?

This doesn't look like your previous HD videos.... Was this uploaded in HD? Some of my HD vids NOW look like copies of old VHS ! Like they've re-made my videos into smaller files to minimize space limitations or something. Great topic today!

@RichieZellon

4 жыл бұрын

Must be the settings on your player. This is definitely HD...

like, to make this Lydian system effective, you need to accept that with the b5 mode of the Lydian aug scale, it's a cluster of notes.

What's the benefit of learning all this instead of just learning the theory from the traditional perspective (e.g. using F lydian over G7 is the same as thinking G mixolydian)?

@RichieZellon

4 ай бұрын

Personally, I believe there is no major benefit. I'm just the messenger explaining it to those who wanted to understand it. :)

L I G H T B U L B moment. Thank you! :-)

Can you have Dorian/Mixolydian/etc Concepts? Why not a different approach for each possible mode? It sounds like the main idea is to take some mode as a core component, then alter it (not unto another mode), and transpose it so it overlaps with the chord well. It sounds cool cause it’s like one mode that just keeps moving around, like the Simpson’s theme, and keeping that #4 is a cool sound you can use in your palettes. But why not another alteration like Dorian Concept, focusing on the #6? Why not think of playing Dorian variations on different roots for each chord? What is goal of the Concept? How should it influence your playing in a way that would sound different? Thanks for the great video!

@RichieZellon

3 жыл бұрын

Well put dodomadoz, thanks!

@douglasmason6067

3 жыл бұрын

dodomadoz I don’t see the connection between the stack of fifths and Lydian being the gravitational center of tonality. For example, it doesn’t explain why the Lydian mode is so challenging to compose in without accidentally resolving to the relative Mixolydian or Ionian. I guess I think of Lydian as balancing an egg on its end. Theoretically everything lines up to let it balance forever, but the slightest motion quickly asserts a different orientation, even if it’s less symmetrical. What I don’t know is whether that’s cultural or not. Another thing I noticed is that in Russell’s book, many of the Lydian scales are also modes of the melodic minor scale, so I wonder if absorbing the LCC would result in harmonizing chords with more modes of the melodic minor than usual. Anyways thank you for sharing and I look forward to your thoughts!

Was there any influence of Raga on Miles?

@RichieZellon

3 жыл бұрын

I doubt it...

I thought playing vertically is when you modulate through the vertical scales chromatically.... The vertical scales are Lyd Lyd #5 Lyd b7 Lyd b3 Whole tone Dim w/h Dim h/w Each one takes you further away from the tonal gravity and pulls you back. You can modulate to, through, or fall back with tonal gravity, with the chord scales of all 7 vertical scales The 4 horizontal scales are Maj Maj b7 Maj #5 Blues scales Are the scales for horizontal movements where you play in the same key signature...

@RichieZellon

4 жыл бұрын

Yes that is also true! However, you are taking my explanation out of context. When I explain vertical and horizontal at the beginning of the video, I do it in reference to the bebop vs modal approach to improvisation, which is related to what was going on with Miles and other bebop musicians at the time. At present, the terms vertical and horizontal are commonly used among many jazz musicians primarily in this context. You are referring to the scales in relation to Russell's conception of Lydian tonal gravity which is a different application of the terms. Regardless, thanks for your feedback as this is also additional info that viewers will find interesting!

@CMM5300

4 жыл бұрын

@@RichieZellon thank you as Well. I can't find a whole lot on the subject and really appriciate your video and your feed back. I see what you mean. Good to know.

@CMM5300

4 жыл бұрын

@@RichieZellon I thought the video was about the Lydian chromatic concept of tonal organization.

I can't find the place to download in the page

@RichieZellon

3 жыл бұрын

jazzguitar.richiezellon.com/premium look in the list that says mini courses

What is confusing me is when it says to play "F Lydian" over the ii-V (Dm - G7) in Take the A Train, isn't that really just playing in the key of C? Why bother thinking of the Lydian scale at all in this case? Does it give some sort of advantage or a different perspective to think of a Lydian scale instead of it's major key? Just trying to understand why it would be approached this way for a ii-V. I see how using the Lydian scale over the major chord removes the avoid note though, that seems very useful.

@RichieZellon

3 жыл бұрын

It's just a different perspective to center the progression around the lydian. The notes are not going to change, just the way you think of them. That's why it's so controversial! Useful for some, but it's kind of like "re-inventing the wheel" for others.

@TheBlissMagnets

3 жыл бұрын

@@RichieZellon Thanks for your reply and for all your videos

so instead of using a system within one octave, this system can only exist within 3 octaves, but no less, or more..... that is totally rad. my mind is blown...why would a person relate the idea of stacking 5ths, to a 3 octave scale system? did they borrow from the idea of stacking -3rds in relation to whole-half-whole-half diminished scale. that occurs within one octave though.

But how do you use it over say So What which only have two minor scales?

@RichieZellon

3 жыл бұрын

Superimpose F and Gb lydian.

@evapettersson3933

3 жыл бұрын

The Jazz Guitar Channel thank you so much for your response! So What has in concert key d minor and Eb minor. Did you choose F and Gb Lydian based on the minor 3rds in those chords/ scales or because you see these minor chords as the II or Dorian of C and Db Major so F and Eb would be the IV which is Lydian?

Wouldn't the perfect 5th clash with #4 same as the clash that exists interval wise within ionian, now just occurring on a different degree?

@RichieZellon

3 жыл бұрын

Depends on the register. If you have the 5th in the bottom of the chord and use the #4 as a #11 in the higher register, it doesn't clash. In Lydian chords you can include both, as long as you respect the order of the overtone series.

@samevans9285

3 жыл бұрын

@@RichieZellon okay, I think I understand. Could you not just place the perfect 4th an octave or two above the 3rd and it have the same effect? I find lydian to be pretty crunchy personally, a nicely voiced maj11 could sound as consonant as a maj#11 no?

@RichieZellon

3 жыл бұрын

@@samevans9285 Not really...

@joaquinnapan3237

3 жыл бұрын

@@samevans9285 The problem my friend is the b9 interval, that interval sounds very dissonant and in chords like Maj7 we don't want that kinda dissonance, and the interval between the 3rd and the 4th an octave above (usually put as 11th) is the b9 that's why we raise the 11th and make the interval a 9th, which sounds more nicer. That's why in dominant 7 chords is usual to have a b9, because we want that kinda dissonance in dominant chords to later resolve. Note: this isn't a rule, is a guideline you can use the Natural 11th over a major chord or make a voicing that works for you, but normally it doesn't work well.

@samevans9285

3 жыл бұрын

@@joaquinnapan3237 hey man, yeah i understand that. There's a semitone between root and maj 7 in a major 7th chords though. Also there's a semitone between #4 and 5th in lydian chord. Was just wondering why the semitone interval in a #11 chord is preferable to that of one in a Ionian major chord if its just the dissonance from the semitone (which exists in both just on different degrees)

IMHO it's just (yet) another different way that leads to the same results, for example: on am7 the LCC says play C Lydian which has the same notes as A dorian or G major. As the modes system is confusing on it's own for many students why would I superimpose another layer of complexity above that? The resulting sounds are the same....

@TheLazyClips

2 жыл бұрын

Because it is trueer to understanding of the sounds and how playing with it works. But ofcourse strictly for usage you dont have to understand that and what you state is enough. But some like to understand and grow in that way.

C Lydian Augmented is basically A Melodic Minor scale.

@kodowdus

3 жыл бұрын

It's a mode of the A melodic minor scale (as the C Lydian dominant scale is a mode of the G melodic minor scale and the C Lydian scale is a mode of the G "major" scale).

Billy Strayhorn's Take the A Train, right?

@RichieZellon

3 жыл бұрын

Sorry, not clear on what you're asking....

@humusiclab8974

3 жыл бұрын

@@RichieZellon you referenced Ellington's Take the A Train. Duke did not compose nor arrange it. Billy Strayhorn did.

@RichieZellon

3 жыл бұрын

@@humusiclab8974 I am aware of that, however most people identify it as part of the Duke Ellington songbook. By the way, are you with the jazz police? :)

@humusiclab8974

3 жыл бұрын

@@RichieZellon Suppose you saw a video, and the person teaching bossa nova implied that Astrud Gilberto wrote "The Girl From Ipanema." And then tries to justify the erroneous info by saying the song is "identified" with her catalogue... Wouldyou say anything? Does that make you the music police?

@RichieZellon

3 жыл бұрын

@@humusiclab8974 I get your point...by the way I was only joking when I asked "are you with the jazz police"...

I Hate That I Lent That Book Out-& Never Saw It Again..🤔🙄

Why is it called the Lydian Chromatic. Chromatic to me is half tones ?

@RichieZellon

3 жыл бұрын

Most likely because the concept includes all 12 existing tones (half steps) in the scales it uses. I recommend reading George Russell's book for more detailed insight.

If he says fift one more time

@RichieZellon

4 жыл бұрын

I'd love to hear you pronounce it!

@brandonmalone3857

2 жыл бұрын

Lol

Well, If you just give up on the "lydian tonic" focus, then these Scales are exactly what Jazz players predominantly use today i.e The Major Scale, Melodic Minor, Harmonic Minor, Whole-Half, Half Whole and the Wholetone Scale and its corresponding modes. While it might be that Russell was the first to formulate the Chord-Scale Approach that is so widely used today, in my book there is no reason to think F-Lydian for a G7 Chord, you can just plain and simple think G-Mixolydian in the first place. The Focus on a lydian-scale that starts on a different Scale-tone than the root of the chord is only to meet Russels premises that he made in the beginning of his Book. So there is really not much use in this, except for it's historical relevance. Just learn modern Chord-Scale Theory....

@RichieZellon

3 жыл бұрын

I agree!

@michaelzahnwehgitarre8957

3 жыл бұрын

@@RichieZellon I have to say though: Cudos to you, this is not an easy thing to teach, and you did it pretty clear. A lot of videos about Russell that are out there just don't get to the point and just bable loosely about the esoteric side of it....

@petermongayahogsholm3884

3 жыл бұрын

gruenesblau it does create a different mindset and gravity point thinking in LLC. Berklee guitar guru Mick Goodrick talk about this in his book “The Advancing Guitarist”. LLC offers more of a common tone approach through changes versus derivative thinking (parent scale) or parallel thinking (corresponding mode/chord scale). Interesting topic!

@josdurkstraful

2 жыл бұрын

@@RichieZellon Then why this video?

Yep...it was a quality setting that must have been altered during one of those be-damned updates!

Vertical = harmonic

Miles just played lol

still not sure where the concept behind all that is ? you play F-Lydian over d-7/G7, so basically Dorian/Mixolydian, you just give it a different name....i came up with a different concept, i play B-Locrian over it it and call it the Locrian Chromatic System ;-)

@ErikDornes

3 жыл бұрын

"concepts" are just ways to, as the name suggest, conceptualize (as in organize, break it down and understand) a certain sound in your head. When you are in a live, improv situation, you want to have access to as many different concepts you can so as to never run out of ways to think about music. You want to be able to box yourself out of any corner, in a sense. Also, and this is the magic part, the way you conceptualize music in your head affects the way you play unconsciously. For example, if in a II-V you think about it as "I'm just gonna play the tonic scale", it would most likely take you to different ideas than if you thought "I'm going to first play D dorian and then G myxolidian". Even if all the notes are exactly the same, you probably will play something different just because of the way you are thinking. In the end, it's about having the most tools available to you in a given moment, so as to never run out of ideas.

@RichieZellon

3 жыл бұрын

Great reply Erik...thanks!

@matthimsa

3 жыл бұрын

@@ErikDornes thanx a lot for the extensive answer, i completely agree, but nevertheless when you play any C-Major shapes/modes over a D-7 chord, it will always sound like dorian, whatever you do, therefore does it really make sense to say i play F-Lydian over D-7 ? ...of course a comprehensive improvisor should be aware of all the possible shapes in between a major scale to play over any chords.....btw the concept of Lydian as the Nr. one scale in Major i agree on !!

6:11 "ma jor scale with a sharp four" It took 6 entire minutes to get to any useful definition. 'no avoid note" yeah sure, let's use this tritone,

@RichieZellon

Жыл бұрын

Enzo, can you refer me and the rest of our viewers to another video that even attempts to successfully teach the Lydian chromatic concept any quicker? It is not just about playing the lydian mode! And your sarcasm about the tritone not clashing with the 5th when used according to the overtone series, ( especially after I played it), shows you have no understanding of jazz theory, let alone an ear for it!

Why is it the Charlie Parker finger?

@RichieZellon

3 жыл бұрын

It''s the Bird finger... :)

I don’t understand the relationship between the scales you’re using and their accidentals compared to the original key. There’s only 5 notes not in key at any given time. Why choose 1 over the other? They’re all equally as important. Why memorize all of these substitutions?

@RichieZellon

3 жыл бұрын

I would suggest getting Russell's book in order to better understand the details. Unfortunately I can only give you a very general introduction in the time allotted to this video and am barely scratching the surface of this system's depth. All I can say in regards to your questions is that you are trying to reconcile the concept to your understanding of functional harmony, which is what Russell reorganizes here according to his view of scales in relationship to what he calls tonal gravity.

"since this is obviously not a piano..."

@RichieZellon

4 жыл бұрын

yes...so what's your point???

@devilsslave1970

4 жыл бұрын

@@RichieZellon just made me chuckle 😁

I think you need to be more careful with the terms "vertical" and "horizontal". You're talking about chord tone vs. scale playing, but Russell is still talking about relating to the chord absent any context from the other chords around it. Russell called this "VERTICAL tonal gravity" (he was planning a second volume on "horizontal tonal gravity" but died before he could write it). I think your use of those terms would confuse someone who read the book after watching this video

@RichieZellon

Жыл бұрын

I appreciate and thank you for your feedback. However, for the practical applications I demonstrate, in addition to having read the book, this is how a student of George Russell explained it to me and I have chosen to teach it. Those who read the book, of course can interpret the concept how they wish. Personally, I have heard so many discussions about this and other aspects of the concept in academic circles, that I have decided to stick to my understanding after 30 years of dealing with it .That said, I am using the terms "vertical" and "horizontal" as they are universally employed and understood by most jazz musicians at present. This is the way it is taught at most of the great music schools! "Vertical" implies the chord or harmony while "horizontal" implies a scale or linear concept. Furthermore, I have been taught to use these terms by my mentor, Charlie Banacos who before passing was head of the New England Conservatory Jazz dept, where George Russell previously taught. Jerry Bergonzi who currently teaches there also agrees! The bottom line is, anyone who initially reads Russell's book will initially be confused. It's a complicated subject. :)

@grahamokeefe9406

Жыл бұрын

@@RichieZellon I was able to figure it out just by reading the book. Your video would have made that harder. To be fair, Russell doesn't make it easy. The hardest part was unraveling his terminology, which could have been so much clearer if he hadn't been so paranoid about using words like "dissonance" or "outside" Personally, I have found the LCC of limited usefulness. It's great if you want to sound like you learned to play in the 60s.

Other than playing Lydian over the Tonic Major chord...guy is doing nothing new. Call the scales whatever you want but you're just playing relative modes of their parent systems. It's also six stacked 5ths, not seven. ----> We're supposed to be counting the intervals...not the notes. Seven 5ths would take you up to the b9 which Russell skips (breaks his theory).

screw the over-theoretic approach; there are only 12 tones to choose from. Choose your chord tones out of the 12 available and forget modes. Study Schillinger and get on the right track. Modes are mental masturbation. Lydian? Sharp the 11 and get on with it. Modes are a waste of time.

Miles is overrated and underrated at the same time.

@brandonmalone3857

2 жыл бұрын

So he's just rated

@lunaticjazz323

5 ай бұрын

Ahaha

This comment is a preview , my real views can be downloaded on a pdf on my website .

This was a bit misleading. A teaser. It’s just that it wasn’t presented that way in the title. For instance, when you watch Barry Greene’s YT vids they’re presented as snippets. It’s apparent from the beginning. Here the viewer rides along for a bit and then is suddenly cut off and presented with a sales pitch. I like your videos and think you’re a great player. Just think this is the wrong approach.

@randolphcohen6522

4 жыл бұрын

Disagree with you michstrito. The amount of content that this video offers for free is astounding. For those of us who value good teaching and learning new concepts, the value for cost seems more than acceptable. If the viewer wants to learn more in depth, Richie gives them an option to learn more in a structured format. For you to criticize this is ignorant. Don’t do that.

@rlb3255

4 жыл бұрын

I disagree. But that's just me :)

@RichieZellon

4 жыл бұрын

In this video I practically explain in detail how the entire LCC works providing lots of practical knowledge. Many agree that these are not snippets, nor is it a teaser. As far as the portions of the video that are missing, they are and have been available for FREE viewing from day 1 on my site. See for yourself...jazzguitar.richiezellon.com/jazz-improvisation/miles-and-the-lydian-chromatic-concept You'll notice that the video on my site is much too long for KZread. As a matter of fact this shortened version is already too long for most! Other than that, I want to add that I do appreciate your honest feedback, however I feel that I am very generous in the amount of practical information that I make available in my videos. And as far as my sales pitch goes, It's a small price to pay for everything I am giving away. At the end of the day, I am a musician and this is part of how I make a living. :)

@farshimelt

3 жыл бұрын

@@RichieZellon I've never met a teacher who gave away their teaching. I've paid $50-$60 an hour for invaluable instruction, without which I wouldn't have played as well. It's not worth arguing with people who want something for nothing. Let them figure it out on their own.

This is Math not Music

@RichieZellon

3 жыл бұрын

You seem surprised...music is math!

@crubistobise7652

3 жыл бұрын

A lot of music is built on patterns. Math is useful for describing patterns. Therefore, I don't see why the two should be seen as mutually exclusive.

Thanks for wasting my .........

@RichieZellon

4 жыл бұрын

My pleasure....

@farshimelt

3 жыл бұрын

You wasted your own time, no one can waste it for you.

@lovepg56

3 жыл бұрын

How do you know I finished the sentence with the word time ? Are you psychic ?