Another reason to put Lydian as the 1st mode: changing modes, but keeping the same tonic is just a matter of moving around the circle of fifths, or adding or subtracting sharps as needed. 1st mode Lydian, 2nd Ionian, 3rd Mixolydian, 4th Dorian, 5th Aeolian, 6th Phrygian, 7th Locrian. I'm in C-Dorian, which has 2 flats. I want to play it in Phrygian, so I move two spaces counter-clockwise from Bb's key sig to Ab's key sig. I'm in Eb Phrygian. I want to put it into Eb Lydian. Simple: Eb Phrygian has 7 flats, and we need to add 6 sharps, where each sharp cancels out a flat. So I just go clockwise 7b-6b-5b-4b-3b-2b. 2b is Bb major. Moving towards Locrian is adding flats. Moving towards Lydian is adding sharps. Just remember that 0b/0# is one of the steps on the wheel! Going from G dorian to G Ionian is adding 2 sharps. G dorian is F major, with 1b, 1b + 2# is 1#.
John! many thanks for your time and energy in sharing George´s wonderful musical concept! Just a little commentary on the greek translation of diatonic you use in your video. Diatonic comes from the old greek music theory meaning 'through the tones', which formed the basis of its musical system besides the cromathic and enharmonic tunings as standards. Thanks again and cheers!
The logic of the stacked perfect fifths breaks if you add another fifth on top. You'll get a b9 interval (c# if you start with the tone c) which is considered by everybody (including George) the most dissonant interval in a tonal center and is usually regarded as incompatible with a tonic sound. Another point, if I establish C as a tonal center, going to F doesn't feel at all like it is resolved. There is a strong pull back to C.
1:37 undertones are not naturally inherent in a sound but require the sympathetic resonance of a larger body capable of producing pitches at integer divisions of the initial fundamental frequency. (or, as with Mari Kimura, fast repetitive bow friction which is heard as a low pitch - the string is NOT vibrating at twice, thrice etc. its own length!) The natural harmonic series principally produces a dominant 9th chord (i.e. more mixolydian than anything..) - it takes a little 'intervention' (stacking fifths) to imply lydian. If octave equivalence is axiomatic, you can't have a 5th without simultaneously generating a 4th, hence the Major scale natural 4th. 4:24 'dia-' does not mean 'two' ('di-' means two). diatonic means "of (or 'through') the scale" - a scale is not diatonic, notes are diatonic (or non-diatonic) in relation TO a key (or scale [means the same thing]) Sure, the Major scale is comprised of two tetrachords but that's why it works so well. Personally, I'm a fan of modal music and the lydian idea (there's plenty of room for many ways of thinking about harmonic relationships) but I wouldn't forego all the incredible canon of functional music I adore by wishing away the subdominant function. Tonic. Subdominant. Dominant. The Holy trinity! Lao Tzu was right saying, "The Tao gives birth to One. One gives birth to Two. Two gives birth to Three. Three gives birth to all things".
how would it affect other music if everyone started using the lydian scale? also maybe i dont understand enough music theory but why is the 5th of b an F sharp?
If everyone used the Lydian scale 'music' would have sharpened 4ths everywhere in the scales used. However, if everyone used the lydian Chromatic concept music would stay the same and newly composed music would contain greater possibilities for the composer. F sharp is the 5th of B(major) because it is the fifth note B C# D# E F#.
The Lydian Chromatic concept is largely useless bullshit with the occasional thing to think about. When have you ever used it? The concept of vertical and horizonal playing is not the actually the basis of Russell's theory but is mentioned a lot because it's the only thing he said that makes sense.
Another reason to put Lydian as the 1st mode: changing modes, but keeping the same tonic is just a matter of moving around the circle of fifths, or adding or subtracting sharps as needed. 1st mode Lydian, 2nd Ionian, 3rd Mixolydian, 4th Dorian, 5th Aeolian, 6th Phrygian, 7th Locrian.
I'm in C-Dorian, which has 2 flats. I want to play it in Phrygian, so I move two spaces counter-clockwise from Bb's key sig to Ab's key sig.
I'm in Eb Phrygian. I want to put it into Eb Lydian. Simple: Eb Phrygian has 7 flats, and we need to add 6 sharps, where each sharp cancels out a flat. So I just go clockwise 7b-6b-5b-4b-3b-2b. 2b is Bb major. Moving towards Locrian is adding flats. Moving towards Lydian is adding sharps. Just remember that 0b/0# is one of the steps on the wheel!
Going from G dorian to G Ionian is adding 2 sharps. G dorian is F major, with 1b, 1b + 2# is 1#.
3:57 - I see what you did there!
Hahahahahaa yeeees
Yes it is, very interesting concept for jazz music, vertical and horizontal tonal gravity!
That is a concept anyway, it is not what the lydain chromatic concept is actually about
Very well explained. And fascinating, this Lydian scale.
Cheers John Really interesting thanks for sharing :)
My pleasure, just checked out ur channel, some dope stuff on there, keep it up!
@@JohnIsCool 👌🎹👊🙂 cheers
did anyone else see the Akatsuki cloud from Naruto in the red stuff on his shirt?
John! many thanks for your time and energy in sharing George´s wonderful musical concept! Just a little commentary on the greek translation of diatonic you use in your video. Diatonic comes from the old greek music theory meaning 'through the tones', which formed the basis of its musical system besides the cromathic and enharmonic tunings as standards. Thanks again and cheers!
Thank you Marco! And thanks for the insight! 👍🏽
Really nice video and very well explained
thank you man!
You got me subscribed..
Love the energy..
Keep it up.. ❤️
Thanks man! More to come :))
The logic of the stacked perfect fifths breaks if you add another fifth on top. You'll get a b9 interval (c# if you start with the tone c) which is considered by everybody (including George) the most dissonant interval in a tonal center and is usually regarded as incompatible with a tonic sound.
Another point, if I establish C as a tonal center, going to F doesn't feel at all like it is resolved. There is a strong pull back to C.
Very interesting Master John, however, I feel that the #4 (F#) wishes to resolve to 5 (G), don't you?
nice nice nice!!!
1:37 undertones are not naturally inherent in a sound but require the sympathetic resonance of a larger body capable of producing pitches at integer divisions of the initial fundamental frequency. (or, as with Mari Kimura, fast repetitive bow friction which is heard as a low pitch - the string is NOT vibrating at twice, thrice etc. its own length!)
The natural harmonic series principally produces a dominant 9th chord (i.e. more mixolydian than anything..) - it takes a little 'intervention' (stacking fifths) to imply lydian. If octave equivalence is axiomatic, you can't have a 5th without simultaneously generating a 4th, hence the Major scale natural 4th.
4:24 'dia-' does not mean 'two' ('di-' means two). diatonic means "of (or 'through') the scale"
- a scale is not diatonic, notes are diatonic (or non-diatonic) in relation TO a key (or scale [means the same thing])
Sure, the Major scale is comprised of two tetrachords but that's why it works so well.
Personally, I'm a fan of modal music and the lydian idea (there's plenty of room for many ways of thinking about harmonic relationships) but I wouldn't forego all the incredible canon of functional music I adore by wishing away the subdominant function.
Tonic. Subdominant. Dominant. The Holy trinity!
Lao Tzu was right saying, "The Tao gives birth to One. One gives birth to Two. Two gives birth to Three. Three gives birth to all things".
Well explained, but just covers the first chapter of Russels book. The interesting things were yet to come...
3:57 thank me later
Good work soldier
I love it, but please drop the background music. I lose my already feeble musical train of thought...
how would it affect other music if everyone started using the lydian scale? also maybe i dont understand enough music theory but why is the 5th of b an F sharp?
If everyone used the Lydian scale 'music' would have sharpened 4ths everywhere in the scales used. However, if everyone used the lydian Chromatic concept music would stay the same and newly composed music would contain greater possibilities for the composer. F sharp is the 5th of B(major) because it is the fifth note B C# D# E F#.
The Lydian Chromatic concept is largely useless bullshit with the occasional thing to think about. When have you ever used it? The concept of vertical and horizonal playing is not the actually the basis of Russell's theory but is mentioned a lot because it's the only thing he said that makes sense.
He used it in the video
@@codymarkley8372 How?
Sounds great as a concept but usless over tonal music.