You’re doing a better job explaining the LCC than Russell did. Here’s what I took from it… If you build a 13th chord using only naturals, you get the tonic chord of F Lydian, and the tritone is farthest from the root note. This is the most consonant 13th chord you can construct. If you build a major 13th chord on any other diatonic scale, it will NOT be the root chord, and the tritone will only be on the root of the chord for Lydian and Locrian. If you build a 13th chord on the root of any diatonic scale other than Lydian, it will NOT be a major 13th chord, and will be more dissonant according to how dark the mode - with Locrian having the most dissonant 13th chord on the root (some super diminished 13th chord). As chords get bigger, they constrain you to fewer scales - unless you omit notes from the chord (which is routine in Jazz). The biggest 7-note major chord (the 13th) constrains to you Lydian if it’s the tonic chord.
Nice video. Thank you. I love Russell's work. What I find most useful from Russell's LCC is hearing alternate scales for chords. Russell's system is ingenious. The slide ruler, his primary chart of scales and associated chords, his tonal gravity chart included in the book are a Be Bop Bible of good sounds. The least important part the whole concept is playing an F# over a C Major 7th chord. Russell's book helped me find good sounds quickly. I think that's the real strength of the work. It consolidates a set of useful sounds to a set of basic scales. I think its strongest value is in the practical advise and suggestions it offers the improviser. Anyway, sorry for going on. Glad to see Russell getting some attention. I think he deserves it.
Thanks! Good stuff. I'm curious where/if there is a relation to Dorian. See, the same changed note (F to F#) that makes C Major become C Lydian, is the same change that makes A Minor become A Dorian. I do know some jazzers use the Dorian scale as the more primordial minor scale.
Looking to harmonise a Lydian progession impro for a few hours now on the internet. 😤. All I want to know the function of each chord of the Lydian. But nope.
@@fgmsband1 no,,,,I think that's what u said,maybe u misspoke? It does happen I'll bet,I'm sure,but I think you got the 4 and 5 mixed up for the CM triad, 🤔 I'll watch it again just to make sure ,everything else was ok though, I'm really trying to get my head around this LCC thing ,and if it actually has method,its very interesting, could be the reason why MD was unique when soloing.also I see I've made another comment re. a blues scale, please forgive my "unfiltered " tone,I realize this is what GR wrote it in the book. Great job on trying to help make sense re LCC,for the rest of us 👍
Thank you for making this video. I bought his book over a decade ago and I still feel like I'm scratching the surface.
You’re doing a better job explaining the LCC than Russell did. Here’s what I took from it…
If you build a 13th chord using only naturals, you get the tonic chord of F Lydian, and the tritone is farthest from the root note. This is the most consonant 13th chord you can construct.
If you build a major 13th chord on any other diatonic scale, it will NOT be the root chord, and the tritone will only be on the root of the chord for Lydian and Locrian.
If you build a 13th chord on the root of any diatonic scale other than Lydian, it will NOT be a major 13th chord, and will be more dissonant according to how dark the mode - with Locrian having the most dissonant 13th chord on the root (some super diminished 13th chord).
As chords get bigger, they constrain you to fewer scales - unless you omit notes from the chord (which is routine in Jazz).
The biggest 7-note major chord (the 13th) constrains to you Lydian if it’s the tonic chord.
Nice video. Thank you. I love Russell's work. What I find most useful from Russell's LCC is hearing alternate scales for chords. Russell's system is ingenious. The slide ruler, his primary chart of scales and associated chords, his tonal gravity chart included in the book are a Be Bop Bible of good sounds. The least important part the whole concept is playing an F# over a C Major 7th chord. Russell's book helped me find good sounds quickly. I think that's the real strength of the work. It consolidates a set of useful sounds to a set of basic scales. I think its strongest value is in the practical advise and suggestions it offers the improviser. Anyway, sorry for going on. Glad to see Russell getting some attention. I think he deserves it.
Well said- very good summary
Very good explanation
Thanks! Good stuff. I'm curious where/if there is a relation to Dorian. See, the same changed note (F to F#) that makes C Major become C Lydian, is the same change that makes A Minor become A Dorian. I do know some jazzers use the Dorian scale as the more primordial minor scale.
Thank u
Which exact video is the very first in the LCC series, please?
Looking to harmonise a Lydian progession impro for a few hours now on the internet. 😤. All I want to know the function of each chord of the Lydian. But nope.
Re; 1:30,1:50 ? did u say CM triad gives you a predom in GM and a dom in FM ? ur confusing us,wtf
Not confusing C triad is indeed the IV in G. C is the V in F
@@fgmsband1 no,,,,I think that's what u said,maybe u misspoke? It does happen I'll bet,I'm sure,but I think you got the 4 and 5 mixed up for the CM triad, 🤔 I'll watch it again just to make sure ,everything else was ok though, I'm really trying to get my head around this LCC thing ,and if it actually has method,its very interesting, could be the reason why MD was unique when soloing.also I see I've made another comment re. a blues scale, please forgive my "unfiltered " tone,I realize this is what GR wrote it in the book. Great job on trying to help make sense re LCC,for the rest of us 👍
What does "African American " blues scale even mean? Wow just more DEI bs ,👎I'm out this video is no help its horrible
Have a little lie down, you'll feel better after
@@chrisnewman9693 no surprise, just another socialist bum on the internet 😐