Cookin' with LydAug

The main body of the LCC and its practical application, including all 4 published versions of Book 1 with their inserts: the 1959 tan cover; the 1959 light green cover Japanese edition; the 1970‘s white cover, which adds an illustrated River Trip to the 1959 edition, and the currently available Fourth Edition, 2001.

The authorization code is the first word on Page 198 of the Fourth Edition of the LCCTO.

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An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice

Postby bobappleton » Mon Jan 24, 2011 11:54 am

...!
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Postby chespernevins » Tue Jan 25, 2011 3:48 am

ML, nice to see you too. Sorry to hear about your friend Festus. We've been hearing about him for a while and know he was important to you.

Pretty interesting melody from an analysis standpoint.

The first 4 bars could be straight A LA except for that Bb at the end of measure 3. The melody seems like more than straight LA. I have initial thoughts, but I haven't had the chance to play this on piano yet - it definitely needs more looking at :)

Could you clarify your thoughts on the "avoid" notes? Are you saying avoid E on the A LA, avoid G# on the Db LA and avoid D on both? Or are you saying something else?
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Postby chespernevins » Thu Jan 27, 2011 10:25 am

ML,

It's great to have you around!

I spent some time last night with your note choices. Very cool. A 10 note scale like that offers so many choices. I ended up trying to hear and characterize each note over each chord. Too much to type here.

But for example, the C over the B7 sounds like a blues note to me - F# blues.

The Bb over the B7 seemed to work primarily as a passing tone for me. The way it's used in the melody sounds like a typical resolution Bb -> A if the chord was an F7 underneath.

The D nat. over Bb- sounds like a little window into a side-slipping type line. I was learning Tristano's "Two Not One" I think it's called and it has tons of back and forth between the key and a half step up.

Another interesting thing - with those notes sometimes Bb-7 sounded like a VIIh of B Lydian. Only the C nat broke the spell and brought us back to a Db Lyd sound.

Yes, and it's a great recording. Amazing how subtle the out notes in the first 2 bars of the Bb- are when you listen to it being played. Sounds like Miles is playing some unusual notes in his solo as well.

Thanks for sharing - good stuff. I'm sure I'll return to this some more.
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Postby chespernevins » Fri Jan 28, 2011 10:23 am

:D

That IS funny. Telling. I appreciate how your take on Lyd Aug is not the 7 specific notes alone, but a set of associations. That's the language of music, I guess. :)

I once did a youtube video type of thing - I had said I'd demonstrate major key melodies on the harmonica. Let's say it was the key of C. Without thinking about it at all, I played C Major, with Chromatic Notes, some focus on A-, some C blues, maybe a couple of C Aux Dim notes. There might have been a b9 on the V chord, maybe a iii-VI-ii-V-I or bII -> I type melody, I forget now. You know, basic noodling around in the key. Well, I posted it without thinking a thing when i started getting emails from musicians. This wasn't a major scale melody! Someone said they heard some minor in there! lol! Well, they were right, but so was I. Ok, they were probably more right! :lol:
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Postby chespernevins » Tue Feb 01, 2011 8:26 am

ML,

Thanks for uploading this.

So what I'm getting from this is that the combo of the two Lyd Aug scales can be used as an almost fully chromatic scale, but it can also be used to enhance one of the lyd aug scales if you want to focus on that.

For example, I get the sense of bi-tonality in the first 4 bars, where the focus in the melody centers around Bbmin (Db Lyd Aug) and where the chromatic notes of B and F# are used to enhance that Bbmin sound.

This focus on Bbmin gives us a bitonal sound over the B7b5 chord, and also is related to the Bbmin that is to come in the next 4 bars.

Your "extra note" of E is used when it conveniently allows for a chromatic passing line going to the strong resolution of C and F over the Bbmin chord of m.5.

I think I detect some focus on A LA over the Bbmin chord as well.

I like the effect of the bitonality of the Major sound over the G- on the bridge.

Would you say I'm close to the idea here? Is this mixing of scales from two different areas typical of your style or is it something that this composition suggested to you because of the juxtaposition of the 4 bars of A LA and Db LA?

I remember that bitonality is of interest to you. Perhaps this is just one device that you use to achieve it?
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Postby chespernevins » Thu Feb 03, 2011 9:06 pm

The uptempo version is great.

Funny, it really sounds different at a different speed because at the faster tempo I tend to hear the melody as a horizontal entity instead of hearing the vertical relationships as much.

Thanks!
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Postby chespernevins » Sat Feb 05, 2011 5:31 pm

:D

Regardless of your first working copy/sound file, I was playing it on the piano pretty slowly, hearing the vertical relationships. My eye recognized the line, but my ears were also hearing the vertical quite a bit. But the faster recorded version made me hear the *line* much more as its own entity.
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