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Composer, theoretician, band leader, George Russell, first published the Lydian Chromatic Concept in 1953, and, for almost 50 years, worked on further refining it. This result is this final edition, published by the estate of Mr. Russell. (www.georgerussell.com) "Surpasses any musical knowledge I've been exposed to." Ornette Coleman. "All of the music's most important developments from modal improvisation to electronics...to free form atonality to jazz-rock have taken cues from Mr. Russell's pioneering work." Robert Palmer, The New York Times.
- Sales Rank: #954704 in Books
- Published on: 2001
- Binding: Hardcover
- 252 pages
Most helpful customer reviews
0 of 0 people found the following review helpful.
George Russell, Miles Davis, Bill Evans and other ...
By Amazon Customer
George Russell, Miles Davis, Bill Evans and other jazz musicians were ahead of their time with thier music creativity, and there is no doubt that this knowledge in music help tjem to achive thier goals.
6 of 6 people found the following review helpful.
Highly advanced
By Krispy
I got this based on a comment in the book The Advancing Guitarist by Mick Goodrick. The immediate thing I noticed was that this is a text book one would find at the master degree or the PhD level if studied at the University level, like jazz physics. For a novice like myself it actually comes in handy in understanding where the Overtone scale originated from that is mentioned in Ted Greene's Single Note Soloing Vol one book. Ted touches on this briefly on the chapter on learning the Overtone scale. But this book expounds on it much further. You also get a detailed analysis of solo's using the concept and there are quizzes and tests to help you learn. But one thing to keep in mind, if Miles Davis, Eric Dolphy and and other jazz greats referenced this book AFTER they had established themselves, kid yourself not, this is jazz on steroids in the 21st century. If anything, it makes for good reading and George Russell connects the dots from Bach through today.
13 of 18 people found the following review helpful.
You don't even realize how bad this book's theories are because it's written so poorly.
By oakleaf
Do yourself a favor and google "Lydian Chromatic Concept Discrepancies" to find the article debunking this theory written by Jeff Brent. I'm going to list some of the easiest to decipher reasons this book is bunk, but he does a much better job going into detail.
I've determined that the reason this book is so expensive can only be attributed to the author's intent to make his ideas as inaccessible to the general public as possible. Like JRR Tolkien, he has gone above and beyond in this book to completely invent his own proprietary language that has never been used before in the history of music, and he does so without abruptly and with out offering any definition for the new terms he coins at rates sometimes approaching five to the sentence. As Albert Einstein said, "If you can't explain it simply, you don't understand it well enough." Nothing could be more self evident of Einstein's idea than this writing. But that's not why this book is bad.
No, the reason this book is bad is because it's information is bad, and the reason it's information is bad is because Russell's central premise is wrong. He starts the book by declaring a problem with the prevalent form of music theory based on a "Diatonic" system. He then launches into a diatribe about how "Diatonic" is inferior because the word "Diatonic" is derived from the greek prefix meaning "two", and that therefore "Diatonic" based harmony is constantly at conflict with itself, fighting between the Major and Lydian modes.
Which sounds great, and when I first purchased this book as a sophomore in college studying music, I completely believed him and even parroted it to some of my own music students. However, even this simple fact, of what the word "Diatonic" means was a complete fabrication. The "Dia" in "Diatonic" means "progressing through", as in "progressing through tones", and NOT what Russell claimed about that two-tonics BS.
Similarly, the primary revelation this book that the Lydian scale is the most natural and fully resolved scale is equally bull. George's first justification of this theory is that if you stack up perfect fifths to the 7th repetition, you will land on an augmented fourth rather than a perfect fourth, and therefore the augmented fourth is the more natural and at rest tone. Which again, sounded believable at first glance, but doesn't make much sense as a theory upon further speculation. Why are you only stacking up to 7 tones and not 6 or 8? The eighth tone in that series is a augmented root. Maybe that should also be included in your scale? And why are you stacking upward? If you go down a fifth you get your perfect 4th. Surely going down by one fifth is of closer relation than moving up seven fifths, is it not? The upward perfect fifth thing seems incredibly arbitrary. Sure, 5ths are incredibly important in dominant resolution, but not really in construction of the cords themselves for notes that sound simultaneously. Further, this concept doesn't even mention dominant resolution. So how does he justify it?
According to Russell, as the perfect fifth is the most prominent overtone, and that is a good reason to stack them up. Which still doesn't seem to have much justification. He even goes on to list out all the overtones, and totes the fact that the augmented fourth occurs much sooner than the perfect fourth in the overtone series. But this is also a bold faced lie. The note in the overtone series that Russell claims to be an augmented fourth is neither a augmented fourth or a perfect fourth. In fact it is almost EXACTLY in the dead center between the two notes. It only leans to the side of the augmented fourth by JUST ONE CENT, or 0.1% – an amount that is completely imprecixevable to humans. This is both wrong and disingenuous. In actuality, the perfect 4th, a REAL perfect 4th and not just a rounding error, occurs at the 22nd overtone, a good bit before you see a real augmented fourth appear.
I could go on, but like I said, others have already pointed out many of the inconsistencies more thoroughly than I could in this forum. Please don't waste your money on this book, as you won't understand it, and anything you do understand will be something the author fabricated out of whole cloth, or just plain wrong.
TLDR: The reason this book was never published with a major publisher is because it was not written in a language discernible by english speakers, and if it had undergone necessary editing to make the point discernible any publisher with a fact checking department would have shut the project down for it's many inconsistencies and what are either lies or stunningly negligent oversights.
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