After Two Days of Studying the George Russell Lydian Chromatic Concept of Tonal Organization...

[Snouter]

It is safe to say...it is an interesting exercise to figure out, but basically irrelevant and I do not think Miles Davis and John Coltrane based any solos on it.

 

[Marion Morrison]

Be better off noodling in melodic minor.

Music is based on tones and harmonics.

It's all math, really.

What's the frequency of A? The same every time.

 

[CrusaderFrank]

Zappa liked Lydian

What's a Lydian anyway?

 

[Snouter]

...What's a Lydian anyway?

Lydian is the 4th mode of the Major (Ionian) scale. It is the same as the Major but raises the 4 to #4. The "Lydian Chromatic Concept" is a different thing though. Simply put, so far as I can tell, it demands that the Major scale be replaced by the Lydian scale as the basis for harmonic development. So you end up with many scales that are variations of Lydian. For example, Ionian would become one of the modes of Lydian instead of the other way around.

Be better off noodling in melodic minor.

Guitarist John McLaughlin mentioned that John Contrane and other greats often soloed using the modes of Melodic Minor.

 

[Marion Morrison]

Zappa liked Lydian

What's a Lydian anyway?

While Zappa was a musical genius, I can't stand him.

 

[Snouter]

Frank really needed someone to tell him that certain parts of his songs were very interesting and had a groove, but some parts were too goofy and made it look like a circus act. But that was the thing he was a live act primarily where each performance was different. I saw Dweezil Zappa play at the Vibes in Bridgeport and they had groove and each song had some cool elements with minimal boring, goofy sections, very enjoyable to take in the performance.

 

[Snouter]

Looking at page 95 of Russell's book in which he analyzes John Coltrane's solo in Giant Steps in the context of his Lydian Concept. I will go over the first 4 bars in terms of the major scale. John McLaughlin mentions a particular mode movement he finds harmonically interesting when playing over I-IV changes and might see if that applies later. Anyhoo.

Measure 1: B Ionian over the Bmaj7 chord. No argument there. Then he says C Lydian over the D7 chord. But the notes are also D Mixlolydian and D is the starting of the solo line. So he is trying to superimpose his theory on what is a more direct concept.

Measure 2: G Ionian over the Gmaj7 chord. Again, no argument there. Then he says Ab Lydian over the Bb7 chord. But the notes are Bb Mixlolydian. The G note in the solo would be the major 7 while the chord is a dominant (flat) 7. Again Russel is trying to superimpose his theory on what is a more direct concept.

Measure 3: E Ionian over the Emaj7 chord. Again, no argument there. But where does that leave the Lydian Concept.

Measure 4: He says C Lydian over the Am7 chord. But A dorian are the same notes and a logical choice since it is a ii chord in that section of the song. Then he says C Lydian diminished over the D7 chord. There is a b2 and a 3 so the first scale that comes to mind is the Super Locrian famous for being the scale to play over E7#9 chords (made accessible to the public by Jimi Hendrix with Purple Haze, Crosstown Traffic, etc., the 7th mode of Melodic Minor sometimes called Ionian #1.

Russell does say he spoke with John Coltrane in Greenwich Village and discussed music theory, but I am guessing it was about generalities, like the fact that chords are derived from scales versus his particular Lydian Concept which is a layer of theory on top of actual music theory. In fact I was messing around with the circle of 5ths and 4ths and easily could have come up with a Mixolydian Concept, since 4ths are really more relevant than 5ths. Check out The Beatles Paperback Writer. It is just a G to C, a I to IV movement, but with a cool melody it sounds like a lot is going on.