You can always add a #11 to these chords without worrying about messing up the harmonic progression. If you always add a sharp 11 to every major and mixolydian scale you avoid the 'avoid' note of the natural 11. Lydian is the new Ionian! For the beginning improviser this is not really such a bad way to think about things. Therefore we should use the Lydian scale as our 'base' scale. Notes could flow more freely beyond the strictures of a song's chords." From:'George Russell Goes for the Modes' by Jason Gross, Village Voice, June 4 - 10, 2003 This offered a new path for adventurous musicians: Standard chord progressions need not dictate the course of an improvisation, as each note is equidistant from a single tonic center. With one tonic used for each respective scale, Russell reasoned that a greater variety of chords could be stacked. But if you adapt the major scale to Lydian mode (in the key of C that would be a C major scale with F-sharp instead of F), it removes the duality of conflicting tonics, and more fully satisfies the tonality of the major chord. Russell argues that a major scale, for example C, consists of two tetrachords that embody two tonalities, not one. Jason Gross explains the reasoning behind the LCCOTO- "For Russell, the Lydian mode (with, in the key of C, its tonic F and dominant C) was a more logical candidate to become the primary scale because it suggests a greater degree of unity between chords and scales.His rationale is that a Major 9th chord with a sharp 11 has more a greater degree of unity a the same chord with a natural 11. The great arranger and NEC professor George Russell teaches what he calls the ' Lydian Chromatic Concept for tonal organization ', or just 'the concept' for short. This is called an 'avoid' note at Berklee. There are not many worse clams than the natural 11 on a dominant or major chord. The students at least play in the correct key, right? Ouch! This is a sure fire way to have a major clam festival. Many Jazz improvisation teachers start their students out thinking this way. Meaning that over the D-7/G7/Cmaj7 he had written C major.
The other day while playing a jam session I noticed that the guitarist had written some key centers on top of all the ii-7/ V7 /ones.
LYDIAN CHROMATIC CONCEPT FREE
Free music software- Shareware Music Machine.John Stowell- the Ultimate Road Warrior.
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