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Thread: George Russell's Lydian Chromatic Concept

  1. #16
    Senior Member isorhythm's Avatar
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    ^That article has the most intelligible summary of the Lydian Chromatic Concept I've come across.

    I'm not sure it's nonsense. When you listen to a Coltrane solo, you often hear him sort of taking a round trip to outer space and back, but not like he's modulating through a series of well-defined keys. Russel was trying to understand how this kind of shifting of "tonal gravity" works in a concrete way, I guess.

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    Senior Member Bwv 1080's Avatar
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    Quote Originally Posted by isorhythm View Post
    ^That article has the most intelligible summary of the Lydian Chromatic Concept I've come across.

    I'm not sure it's nonsense. When you listen to a Coltrane solo, you often hear him sort of taking a round trip to outer space and back, but not like he's modulating through a series of well-defined keys. Russel was trying to understand how this kind of shifting of "tonal gravity" works in a concrete way, I guess.
    Absolutely, it gets extrapolated past where it should, with grandiose universal claims and bestowing guru status on Russell. While not suited to tonal (in the common practice sense) music including bebop, but opened up a lot of interesting ideas for Jazz in the late 50s

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    Quote Originally Posted by Bwv 1080 View Post
    Absolutely, it gets extrapolated past where it should, with grandiose universal claims and bestowing guru status on Russell. While not suited to tonal (in the common practice sense) music including bebop, but opened up a lot of interesting ideas for Jazz in the late 50s
    So, it's all about popularising certain ideas.
    Books by Gershwin's teacher Schillinger (who also taught other jazz/big band composers) are older and even more advanced in theory (you will find in them stuff that is currently popular in modern academic papers) than Lydian nonsense (he also had some some dumb/undeveloped/not correct ideas, but at least Schillinger didn't try to rename well known scalar patterns and wasn't vague about some nonsense like "tonal gravity"), but I guess they were never made popular among the general jazz crowd unlike Russel's work.

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    Senior Member millionrainbows's Avatar
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    Quote Originally Posted by Bwv 1080 View Post
    Absolutely, it gets extrapolated past where it should, with grandiose universal claims and bestowing guru status on Russell. While not suited to tonal (in the common practice sense) music including bebop, but opened up a lot of interesting ideas for Jazz in the late 50s
    So who should I believe, you or Miles Davis? You should get down on your knees and beg your God for forgiveness for dissing George Russell!

    Quote Originally Posted by BabyGiraffe View Post
    So, it's all about popularising certain ideas.
    Quote Originally Posted by BabyGiraffe View Post
    Books by Gershwin's teacher Schillinger (who also taught other jazz/big band composers) are older and even more advanced in theory (you will find in them stuff that is currently popular in modern academic papers) than Lydian nonsense (he also had some some dumb/undeveloped/not correct ideas, but at least Schillinger didn't try to rename well known scalar patterns and wasn't vague about some nonsense like "tonal gravity"), but I guess they were never made popular among the general jazz crowd unlike Russel's work.


    Comparing Schillinger with George Russell? Ridiculous. BabyGiraffe once again demonstrates his ignorance.
    Last edited by millionrainbows; Jul-31-2019 at 12:05.

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