this is an incredible presentation of a very difficult topic
@weloverobospam16 сағат бұрын
Well, we're are getting a little heady for a self-taught backwoods guitar picker such as myself (!), but I think this is an excellent series you've put together. Well-presented and insightful. While I tend to think a bit more in terms of modes on common roots, I like the conception of representing these 'parent scales' using only sharps. It makes the underlying structural expansion more obvious. One thing I noticed that makes it a bit easier to conceptualize for someone like myself without a strong theory or music education background is that these can all be conceived as simple tetrachord combinations: 7 TO: 222 Tetrachord + 221 Tetrachord 8 TO: 222 Tetrachord + 121 Tetrachord 9 TO: 312 Tetrachord + 221 Tetrachord 10 TO: 312 Tetrachord + 121 Tetrachord 11 TO: 312 Tetrachord + 211 Tetrachord 12 TO: 212 Tetrachord + 212 Tetrachord all with their resulting modes. So with just six tetrachords (121,211,212,221,222,312) in various combinations, one can roll through all 42 of these possibilities. I am already accustomed to think that way in regards the first four of these since, from a different starting point, they are basically the 28 modes of major, melodic minor, harmonic minor, and harmonic major. The next two, 11 and 12, are a bit more unusual in that they introduce successive half steps, which is not something we typically do in traditional tonal music. In that respect they introduce 14 of the modes from the melakarta that are formed in a similar manner. So there are 48 in total in this 'lydian chromatic concept', which doesn't really get us to the entire 72 that seem mathematically feasible for heptatonic scales, so I am thinking it is a nice middle ground which both covers the familiar bases while also definitely introducing some additional exoticism that is interesting, and which could provide some more 'outside' possibilities, or probably work just fine on their own in more of a drone or organum context. Very cool. Thank you for making the PDF available, especially without putting any hurdles in the way. I hesitate to mention it at all, but since you seem a fastidious thinker: the sheet does appear to have a typo in it where the numbering of the scales is given as 7,8,9,9,10,11 instead of the seemingly more probable 7,8,9,10,11,12 (unless I am misunderstanding something). In any case, this is a really excellent series that presents a framework for thinking about music that is new to me and quite interesting. Thank you!
@JohnMBK14 сағат бұрын
I'm glad my brain isn't the only one that breaks it into groupings of tetrachords! It makes it so much easier for me to wrap my head around and visualize on the keyboard once I memorize the different groups.
@weloverobospam12 сағат бұрын
@@JohnMBK Yup, I do more guitar than keyboard, but 'four fingers, three spaces between the fingers' still applies and helps me a lot. I have found that I never fully develop a facility with a lot of these things until I can break the information down into pretty small chunks that I can actually apply on an instrument. Later, maybe, I can build bigger structures out of the small pieces, but in between tetrachords help, and I need all the help I can get! ;-}
@JR-jl2kuКүн бұрын
I love this way of seeing the LCC. It is funny to see for eg the most ingoing alterations for say the Ionian mode starting with a #1 and without the Ionian root note, but I guess that is to be expected when you make alterations from the parent Lydian scale. Thanks for the great series, it's really clearing up many questions I had about Russel's concept!
@heartsandscissors2 күн бұрын
I've been meaning to get a copy of the book and read it for about 25 years. Thanks for breaking it down and reaffirming that i need to get and explore the book....
@Cross_Contam2 күн бұрын
Great videos excellent information, but there's a lot of background noise in these... sounds like you are in a barbershop with the clippers running. Gets less noisy on the cut-away bits.
@pauljmeyer13 күн бұрын
I have been struggling to reach those high notes, but now, I can finally achieve them; thanks to you.
@deveranroof3 күн бұрын
THE PEOPLE THAT UNDERSTAND THIS CAN SEND TO THEIR FRIENDS ,,,, THANKS
@lydiaelsewhere15043 күн бұрын
These videos are super inspiring! Im learning so much and i keep having to pause in the video to do some improv based on these progressions i love it! 😸
@siljesidong11013 күн бұрын
When i played the low c and used my air, my c didn’t another higher note:( just became a bit sharp
@Scarrrz4 күн бұрын
Hey, man! Really enjoyed the video, and explanation of how proper embouchure should work... I played trumpet for 8 years, 6-12 grade, and a little past... But have stopped playing for the last 9 years after... I'm 28 now, looking into playing again, but I have a video I'd like you to watch from one of my last years in high school, and taking a look at my embouchure and playing, do you think this is something I should correct? Would benefit from your tips! kzread.info/dash/bejne/gXZp1sqsk8WpmLw.html
@victorpinto73084 күн бұрын
Hi! Hope you're doing well. I'm a self learnt trumpet player for country bass band without knowing any notations other than sa,re,ga,ma. I find difficulties to play after one or two songs as my lips tires and gives up. I recently came across your video classes and trying to improve my problem. I'm using 7c or 3c mouthpieces. But that doesn't make any difference. Please be kind to let me know Which kind or numberd mouthpiece is best for high, medium and low voice. Thanks.
@Reaktron884 күн бұрын
This method is bad, because I used to use this method, and them got complaints from my band director that I was playing to loud.
@evening_awning4 күн бұрын
very fun keeping up with this series !
@davideiotti97254 күн бұрын
Thanks, very helpful
@privateamerican26344 күн бұрын
I started taking online lessons from Bobby a couple months ago. It is great to watch his videos, but working one-on-one with Bobby is exponentially better.
@chiefofruneterra5 күн бұрын
I need more videos like this one, more analysing and specific terms in details. great job! thank you
@lukaszratynski5 күн бұрын
It’s so fu****g entertaining!!! ❤❤❤
@jonasaras5 күн бұрын
I think the system refuted itself when you skipped a fifth (around the 3 minute mark). Since one needs to make compensating adjustments to avoid the -9 dissonance, that could be done in the first octave thereby allowing the use of the natural 11. The other significant limitation is that there’s no mention of how to voicelead structures horizontally over root tones, and, if it did, it would still be in the “jail” of the circle of fifths.
@omegacanon6 күн бұрын
Minor 7 flat 5 or Half diminished 7? Thoughts?
@196487466 күн бұрын
Gracias por divulgar una perspectiva tonal tan dejada de lado .trabajar desde el modo lidio colorea tu oído de distinta manera
@slavaleiman7 күн бұрын
You need chromatic piano for this
@boomerdell7 күн бұрын
Superbly explained, thank you so much for this! Your carefully walking us through the two-scales-in-one perspective, among other elements in all this, helped switch on a light in my mind. And I absolutely love the history and background, that adds so much. Very nicely done!
@Life-er6mq7 күн бұрын
Thanks for this video! I've played trumpet at a decent level since middle school and am trying to convince my wife to get me a slide trumpet for Christmas haha. I've wanted one since high school jazz band and love looking them up on KZread every few years to see if anyone plays them. This is the first new video I've seen on it in years; it's so cool people are making content with them!
@dagadbm7 күн бұрын
do you beleive this is better than the barry harris way of seeing music with the diminished family?
@markyachnin19018 күн бұрын
Beautiful playing. Thank you!
@cathybarron90739 күн бұрын
That's a conch shell horn on the shelf behind you. Any chance you can do a video on playing that?
@blindblackpianist9 күн бұрын
What about it you need to do it on 23 or 12? Any general tips?
@CassWhistles-le6sf9 күн бұрын
Bob: "remember this is not prescriptive" also dedicated an entire episode to explaining paradigm shifts. Title: Lydian Chromatic "Concept" of Tonal "Organization" Half the comments in each episode- this really just feels like its organizing the notes in a different way and doesnt necessarily tell me new things to do that people weren't already doing in jazz to some extent. ------------ Much like how new Physics models dont change how the heavenly bodies interact with each other, the LCCoTo doesn't change the music. Russell saw a BUNCH of empirical evidence (jazz) that was poorly explained by Western harmony and wanted to better explain how/why these sounds make sense. Its philosophy, its capital A Aesthetics, which unlike many other philosophies is held accountable for making sense of changes in the Art world. Once organized into a coherent system you CAN make choices utilizing it, like how different ethical systems solve the trolley problem differently. You can make musical choices explicitly using the Ezzthetics of George Russell AND/OR simply explain whats going on. Absolutely stunning series so far, Bob.
@forrestlineberry92819 күн бұрын
8:00 You glossed over the fact that the Eb (Lydian Diminished) yields the harmonic MAJOR scale rather than the harmonic MINOR scale.
@RidgewoodSchoolofMusic5 күн бұрын
It actually does both, but I'll cover that in episode 6.
@mikegeld128010 күн бұрын
I think the whole LCC is designed to "suspend " tonality, so as to allow more freedom of movement for improv and soloing, thus, its why it's called modal jazz, 🤔
@maldrighi10 күн бұрын
ACB TA1 ???
@billmartin602811 күн бұрын
I think that the b2 retains functional purpose as it can serve as an important compositional option when applied to a final resolution to the tonic. While it is certainly too dissonant for wide use, it can add a nice bit of spice at the end of a tune.
@alexfischer921311 күн бұрын
Really good…and practical!!!
@harryleblanc493911 күн бұрын
I've been thinking about this quite a bit. To me, it's a question of shifting colors. I conceptualize the center point as the dorian scale, because both tetrachords are "neutral." If that's green, then we deviate up or down (sharps or flats), and that can be visualized as a color shift -- either a blue shift (flats) or a yellow shift (sharps). One sharp (yellow) becomes the mixolydian scale, then orange to major/ionian, then red to the lydian. Adding flats from dorin, you get minor/aeolian (aqua), phrydgian (blue), then the dreaded locrian (purple). But note that you also get to locrian along the yellow, so the next step up from lydian is the locrian modulated up a half tone. Keep adding sharps, you modulate upward, keep adding flats, you modulate downward. But nobody likes locrian, so most music stops at lydian or phrygian. If you start on the tonic, and conceptualize everything flatted except the tonic, then moving up fifths adds a new natural or sharp. Add the fifth for phrygian, then the 2nd for aeolian, then the 6th for dorian, then the 3rd for mixolydian, then the 7th for major/ionian, then the 4th for the lydian. Then the tonic to modulate up to the next locrian. This makes more sense to me, and doesn't make the sharp 9 the floppy-eared runt of the litter.
@cattafish8 күн бұрын
That's a valid extension of the concept for sure. The Dorian scale is the same when inverted so its a natural resting point. And by reinterpreting the dorian in terms of up or downwards shifts by a 5th of the original LC tonic you get chord scales that you normally wouldn't consider using traditional methods. The only drawback, (and this applies to Bob's exposition also) is a traditional bebop language setting where dissonance tends to get resoved quickly and where the root 1357 chord tones take precedence over subsiduary scale or non scale tones. This still gives the feel of a line too closely tethered to the original harmony as you can hear above. The object of the concept was to free the line from the chord. This is why the concept was most effective when thinking intervallically and with the accompaniment strpped down to just 7ths in the bass and scale tone clusters in the upper register. Or else polychords or modal 4th voicings. Another outgrowth was Miles telling Herbie to leave out the 7th and 3rd altogether and play scale clusters mixed with 4ths. That, and fewer chords, gave players the freedom to stack harmonies and interval sequences on top. With Dolphy and others It got back to a similar feel of gravitating lines around upper srtucture chord tones like 9, 11, and 13 the way Parker did, only by different means and with more emphasis on sustained dissonance. Check out Dolphy and Herbie on "Softly as in a Morning Sunrise", or any of the 1963/4 repetoire in Miles's second quintet.
@darkharcoma305412 күн бұрын
Far out: A term of high approbation in the swing era was "out of this world," in the bop era it was "gone," and today it is "the greatest" or "the end." Similarly, a daring performance was "hot," then "cool," and now is "far out." - Time, 8 Nov. 1954. The Lydian Chromatic Concept of Tonal Organization was written by George Russell in 1953. Does the term originate from the far out "out going" improvisations based on this?
12 күн бұрын
I think Jacob Collier have the real solution for #15 , is the authentic Lydian evolution colour ... My ear is completely agree with that
@k.scotsparks924712 күн бұрын
Thanks for this. If this can't be explained, forget about Popperian falsifiability, right? The point is that all here pertains to an old world of science - something more like contemplation (..not analytic systematics!). Thanks again. Peace.
@user-uz7rq9nr1p12 күн бұрын
I don't know for sure, but I think the skipping of C# is due to the order of appearance of the notes of the overtone series?
@V8Murder12 күн бұрын
4:15 I would recommend checking out Paul Hindemith's book "The Craft of Musical Composition" if you haven't. The first pages discuss construction of the chromatic scale from the overtone series and combination tones. I haven't properly compared it with george russell's lydian chromatic scale construction, but there seem to be similarities in their ideas.
@cattafish8 күн бұрын
Yes, similar, especially in the determination of the root of intervals and chords. Also in the way that the intervals nearer the root determine the underlying tonality. Hindemith probably went further in determining the overall dissonance level of a given vertical chord structure by grading the dissonance of every interval it contains. Where Russell is better is assigning more than one possible tonal centre for any chord in ascending order of tension. This opens up more possibilities for melodic independence from the chord tones and also allowing the graded stacking of harmonies or lines from more than one tonal centre
@RidgewoodSchoolofMusic5 күн бұрын
Thanks, I've read some of Hindemith's work, but I'll definitely spend some time diving deeper into this!
@bobblues115812 күн бұрын
There are no wrong notes-only wrong melodies.
@shift_reset12 күн бұрын
Even setting aside the issue of the sharp 1 / flat 2, lydian augmented feels like a weird fit since you are discarding the first / strongest fifth in the order of tonal gravity. (nvm, I see that it is just one choice of many replacements) I also can't think of a principled reason why you would prefer to swap the Eb for the E in Lydian Diminished rather tthan a D# for D. Both of these give you modes of the harmonic minor if you want to justify the choice that way. Similarly for other principal scales, it's not clear why to choose which enharmonic pair. I'm trying to be open-minded but this feels more like george russell's musical hot take rather than anything with genuine explanatory power
@forrestlineberry92819 күн бұрын
Swapping Eb for E yields the harmonic MAJOR scale. Swapping D# for D yields the harmonic minor scale. My take on the choices for the principle scales is that each, save for the last (most outgoing), preserves the Lydian II chord (traditional V chord).
@MollyMU-no7mh12 күн бұрын
was trying to play narco and couldnt get it but then i sounded lieke i made it
@ParnasoCultural12 күн бұрын
The C#-Db issue on C Lydian could be the same F issue on C Ionian
@viggosimonsen12 күн бұрын
All very interesting - but I still fail to see how this theory adds anything to the language of jazz, vis a vis it was played prior to his theory, using various chord substitutions, like tritone, etc.. The improvisation examples you gave are all within the scope of conventional substitutions. In other words, I see it more as a different perspective on musical organization - which adds very little to the way jazz is played in practice - except in the very important case of purely modal music a la Kind of Blue
@theredshirts724512 күн бұрын
Was that buzzing in every video?
@WhydoIneedafuckinghandle12 күн бұрын
So much hot air
@scottdrake515912 күн бұрын
This series is a blast!
@MindsEyeVisualGuitarMethods12 күн бұрын
Am I understanding the terms inbound and outbound correctly? I take it that inbound means that the pool of notes you're using is going to resolve back to the tonic they're based on... You're drawing from a pool of notes that wants to resolve to a new place
Пікірлер
absolutely brilliant presentation!
this is an incredible presentation of a very difficult topic
Well, we're are getting a little heady for a self-taught backwoods guitar picker such as myself (!), but I think this is an excellent series you've put together. Well-presented and insightful. While I tend to think a bit more in terms of modes on common roots, I like the conception of representing these 'parent scales' using only sharps. It makes the underlying structural expansion more obvious. One thing I noticed that makes it a bit easier to conceptualize for someone like myself without a strong theory or music education background is that these can all be conceived as simple tetrachord combinations: 7 TO: 222 Tetrachord + 221 Tetrachord 8 TO: 222 Tetrachord + 121 Tetrachord 9 TO: 312 Tetrachord + 221 Tetrachord 10 TO: 312 Tetrachord + 121 Tetrachord 11 TO: 312 Tetrachord + 211 Tetrachord 12 TO: 212 Tetrachord + 212 Tetrachord all with their resulting modes. So with just six tetrachords (121,211,212,221,222,312) in various combinations, one can roll through all 42 of these possibilities. I am already accustomed to think that way in regards the first four of these since, from a different starting point, they are basically the 28 modes of major, melodic minor, harmonic minor, and harmonic major. The next two, 11 and 12, are a bit more unusual in that they introduce successive half steps, which is not something we typically do in traditional tonal music. In that respect they introduce 14 of the modes from the melakarta that are formed in a similar manner. So there are 48 in total in this 'lydian chromatic concept', which doesn't really get us to the entire 72 that seem mathematically feasible for heptatonic scales, so I am thinking it is a nice middle ground which both covers the familiar bases while also definitely introducing some additional exoticism that is interesting, and which could provide some more 'outside' possibilities, or probably work just fine on their own in more of a drone or organum context. Very cool. Thank you for making the PDF available, especially without putting any hurdles in the way. I hesitate to mention it at all, but since you seem a fastidious thinker: the sheet does appear to have a typo in it where the numbering of the scales is given as 7,8,9,9,10,11 instead of the seemingly more probable 7,8,9,10,11,12 (unless I am misunderstanding something). In any case, this is a really excellent series that presents a framework for thinking about music that is new to me and quite interesting. Thank you!
I'm glad my brain isn't the only one that breaks it into groupings of tetrachords! It makes it so much easier for me to wrap my head around and visualize on the keyboard once I memorize the different groups.
@@JohnMBK Yup, I do more guitar than keyboard, but 'four fingers, three spaces between the fingers' still applies and helps me a lot. I have found that I never fully develop a facility with a lot of these things until I can break the information down into pretty small chunks that I can actually apply on an instrument. Later, maybe, I can build bigger structures out of the small pieces, but in between tetrachords help, and I need all the help I can get! ;-}
I love this way of seeing the LCC. It is funny to see for eg the most ingoing alterations for say the Ionian mode starting with a #1 and without the Ionian root note, but I guess that is to be expected when you make alterations from the parent Lydian scale. Thanks for the great series, it's really clearing up many questions I had about Russel's concept!
I've been meaning to get a copy of the book and read it for about 25 years. Thanks for breaking it down and reaffirming that i need to get and explore the book....
Great videos excellent information, but there's a lot of background noise in these... sounds like you are in a barbershop with the clippers running. Gets less noisy on the cut-away bits.
I have been struggling to reach those high notes, but now, I can finally achieve them; thanks to you.
THE PEOPLE THAT UNDERSTAND THIS CAN SEND TO THEIR FRIENDS ,,,, THANKS
These videos are super inspiring! Im learning so much and i keep having to pause in the video to do some improv based on these progressions i love it! 😸
When i played the low c and used my air, my c didn’t another higher note:( just became a bit sharp
Hey, man! Really enjoyed the video, and explanation of how proper embouchure should work... I played trumpet for 8 years, 6-12 grade, and a little past... But have stopped playing for the last 9 years after... I'm 28 now, looking into playing again, but I have a video I'd like you to watch from one of my last years in high school, and taking a look at my embouchure and playing, do you think this is something I should correct? Would benefit from your tips! kzread.info/dash/bejne/gXZp1sqsk8WpmLw.html
Hi! Hope you're doing well. I'm a self learnt trumpet player for country bass band without knowing any notations other than sa,re,ga,ma. I find difficulties to play after one or two songs as my lips tires and gives up. I recently came across your video classes and trying to improve my problem. I'm using 7c or 3c mouthpieces. But that doesn't make any difference. Please be kind to let me know Which kind or numberd mouthpiece is best for high, medium and low voice. Thanks.
This method is bad, because I used to use this method, and them got complaints from my band director that I was playing to loud.
very fun keeping up with this series !
Thanks, very helpful
I started taking online lessons from Bobby a couple months ago. It is great to watch his videos, but working one-on-one with Bobby is exponentially better.
I need more videos like this one, more analysing and specific terms in details. great job! thank you
It’s so fu****g entertaining!!! ❤❤❤
I think the system refuted itself when you skipped a fifth (around the 3 minute mark). Since one needs to make compensating adjustments to avoid the -9 dissonance, that could be done in the first octave thereby allowing the use of the natural 11. The other significant limitation is that there’s no mention of how to voicelead structures horizontally over root tones, and, if it did, it would still be in the “jail” of the circle of fifths.
Minor 7 flat 5 or Half diminished 7? Thoughts?
Gracias por divulgar una perspectiva tonal tan dejada de lado .trabajar desde el modo lidio colorea tu oído de distinta manera
You need chromatic piano for this
Superbly explained, thank you so much for this! Your carefully walking us through the two-scales-in-one perspective, among other elements in all this, helped switch on a light in my mind. And I absolutely love the history and background, that adds so much. Very nicely done!
Thanks for this video! I've played trumpet at a decent level since middle school and am trying to convince my wife to get me a slide trumpet for Christmas haha. I've wanted one since high school jazz band and love looking them up on KZread every few years to see if anyone plays them. This is the first new video I've seen on it in years; it's so cool people are making content with them!
do you beleive this is better than the barry harris way of seeing music with the diminished family?
Beautiful playing. Thank you!
That's a conch shell horn on the shelf behind you. Any chance you can do a video on playing that?
What about it you need to do it on 23 or 12? Any general tips?
Bob: "remember this is not prescriptive" also dedicated an entire episode to explaining paradigm shifts. Title: Lydian Chromatic "Concept" of Tonal "Organization" Half the comments in each episode- this really just feels like its organizing the notes in a different way and doesnt necessarily tell me new things to do that people weren't already doing in jazz to some extent. ------------ Much like how new Physics models dont change how the heavenly bodies interact with each other, the LCCoTo doesn't change the music. Russell saw a BUNCH of empirical evidence (jazz) that was poorly explained by Western harmony and wanted to better explain how/why these sounds make sense. Its philosophy, its capital A Aesthetics, which unlike many other philosophies is held accountable for making sense of changes in the Art world. Once organized into a coherent system you CAN make choices utilizing it, like how different ethical systems solve the trolley problem differently. You can make musical choices explicitly using the Ezzthetics of George Russell AND/OR simply explain whats going on. Absolutely stunning series so far, Bob.
8:00 You glossed over the fact that the Eb (Lydian Diminished) yields the harmonic MAJOR scale rather than the harmonic MINOR scale.
It actually does both, but I'll cover that in episode 6.
I think the whole LCC is designed to "suspend " tonality, so as to allow more freedom of movement for improv and soloing, thus, its why it's called modal jazz, 🤔
ACB TA1 ???
I think that the b2 retains functional purpose as it can serve as an important compositional option when applied to a final resolution to the tonic. While it is certainly too dissonant for wide use, it can add a nice bit of spice at the end of a tune.
Really good…and practical!!!
I've been thinking about this quite a bit. To me, it's a question of shifting colors. I conceptualize the center point as the dorian scale, because both tetrachords are "neutral." If that's green, then we deviate up or down (sharps or flats), and that can be visualized as a color shift -- either a blue shift (flats) or a yellow shift (sharps). One sharp (yellow) becomes the mixolydian scale, then orange to major/ionian, then red to the lydian. Adding flats from dorin, you get minor/aeolian (aqua), phrydgian (blue), then the dreaded locrian (purple). But note that you also get to locrian along the yellow, so the next step up from lydian is the locrian modulated up a half tone. Keep adding sharps, you modulate upward, keep adding flats, you modulate downward. But nobody likes locrian, so most music stops at lydian or phrygian. If you start on the tonic, and conceptualize everything flatted except the tonic, then moving up fifths adds a new natural or sharp. Add the fifth for phrygian, then the 2nd for aeolian, then the 6th for dorian, then the 3rd for mixolydian, then the 7th for major/ionian, then the 4th for the lydian. Then the tonic to modulate up to the next locrian. This makes more sense to me, and doesn't make the sharp 9 the floppy-eared runt of the litter.
That's a valid extension of the concept for sure. The Dorian scale is the same when inverted so its a natural resting point. And by reinterpreting the dorian in terms of up or downwards shifts by a 5th of the original LC tonic you get chord scales that you normally wouldn't consider using traditional methods. The only drawback, (and this applies to Bob's exposition also) is a traditional bebop language setting where dissonance tends to get resoved quickly and where the root 1357 chord tones take precedence over subsiduary scale or non scale tones. This still gives the feel of a line too closely tethered to the original harmony as you can hear above. The object of the concept was to free the line from the chord. This is why the concept was most effective when thinking intervallically and with the accompaniment strpped down to just 7ths in the bass and scale tone clusters in the upper register. Or else polychords or modal 4th voicings. Another outgrowth was Miles telling Herbie to leave out the 7th and 3rd altogether and play scale clusters mixed with 4ths. That, and fewer chords, gave players the freedom to stack harmonies and interval sequences on top. With Dolphy and others It got back to a similar feel of gravitating lines around upper srtucture chord tones like 9, 11, and 13 the way Parker did, only by different means and with more emphasis on sustained dissonance. Check out Dolphy and Herbie on "Softly as in a Morning Sunrise", or any of the 1963/4 repetoire in Miles's second quintet.
Far out: A term of high approbation in the swing era was "out of this world," in the bop era it was "gone," and today it is "the greatest" or "the end." Similarly, a daring performance was "hot," then "cool," and now is "far out." - Time, 8 Nov. 1954. The Lydian Chromatic Concept of Tonal Organization was written by George Russell in 1953. Does the term originate from the far out "out going" improvisations based on this?
I think Jacob Collier have the real solution for #15 , is the authentic Lydian evolution colour ... My ear is completely agree with that
Thanks for this. If this can't be explained, forget about Popperian falsifiability, right? The point is that all here pertains to an old world of science - something more like contemplation (..not analytic systematics!). Thanks again. Peace.
I don't know for sure, but I think the skipping of C# is due to the order of appearance of the notes of the overtone series?
4:15 I would recommend checking out Paul Hindemith's book "The Craft of Musical Composition" if you haven't. The first pages discuss construction of the chromatic scale from the overtone series and combination tones. I haven't properly compared it with george russell's lydian chromatic scale construction, but there seem to be similarities in their ideas.
Yes, similar, especially in the determination of the root of intervals and chords. Also in the way that the intervals nearer the root determine the underlying tonality. Hindemith probably went further in determining the overall dissonance level of a given vertical chord structure by grading the dissonance of every interval it contains. Where Russell is better is assigning more than one possible tonal centre for any chord in ascending order of tension. This opens up more possibilities for melodic independence from the chord tones and also allowing the graded stacking of harmonies or lines from more than one tonal centre
Thanks, I've read some of Hindemith's work, but I'll definitely spend some time diving deeper into this!
There are no wrong notes-only wrong melodies.
Even setting aside the issue of the sharp 1 / flat 2, lydian augmented feels like a weird fit since you are discarding the first / strongest fifth in the order of tonal gravity. (nvm, I see that it is just one choice of many replacements) I also can't think of a principled reason why you would prefer to swap the Eb for the E in Lydian Diminished rather tthan a D# for D. Both of these give you modes of the harmonic minor if you want to justify the choice that way. Similarly for other principal scales, it's not clear why to choose which enharmonic pair. I'm trying to be open-minded but this feels more like george russell's musical hot take rather than anything with genuine explanatory power
Swapping Eb for E yields the harmonic MAJOR scale. Swapping D# for D yields the harmonic minor scale. My take on the choices for the principle scales is that each, save for the last (most outgoing), preserves the Lydian II chord (traditional V chord).
was trying to play narco and couldnt get it but then i sounded lieke i made it
The C#-Db issue on C Lydian could be the same F issue on C Ionian
All very interesting - but I still fail to see how this theory adds anything to the language of jazz, vis a vis it was played prior to his theory, using various chord substitutions, like tritone, etc.. The improvisation examples you gave are all within the scope of conventional substitutions. In other words, I see it more as a different perspective on musical organization - which adds very little to the way jazz is played in practice - except in the very important case of purely modal music a la Kind of Blue
Was that buzzing in every video?
So much hot air
This series is a blast!
Am I understanding the terms inbound and outbound correctly? I take it that inbound means that the pool of notes you're using is going to resolve back to the tonic they're based on... You're drawing from a pool of notes that wants to resolve to a new place
Thank you for these videos bobs
😘