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If you read through George Russell's Lydian Chromatic Concept it is indeed a "this scale fit over this chord" type organisational approach. But, has multiple scale choices for each chord, each more outside that the previous scale, it's a way to play outside sounds in an organised way. That's what I took from the the old version of LCC. I did convert the scales to standard common practice scale names, to make it easier for myself.
Originally Posted by Christian Miller
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05-22-2023 04:31 AM
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I think that’s what most people do with it these days?
Originally Posted by GuyBoden
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Originally Posted by GuyBoden
Above, is the main point of my post about George Russell's lydian Chromatic Concept.
This is why LCC is not just a "this scale fits over this chord" approach, but yes, it certainly can be viewed as an early form of CST.
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I had the impression that Del Boy wanted to unite all improvisers against their common enemies, the rank and file who play from scores.
Originally Posted by Christian Miller
Everything in the right time and place.
Originally Posted by Christian Miller
Every Monday night in Auckland, people gather to perform non-idiomatic improvisation, randomly assigned in trios. I would join them, but I fear my improvising is too idiomatic.
Originally Posted by Christian Miller
Julie Driscoll, before she married.
Originally Posted by Christian Miller
No, pebbles on the dance floor. For a while, knocking pebbles about on the floor, in front of a microphone, was very popular at performances of what was called ‘electro-acoustic’ music. I once sat through an evening of such antics, with a series of performers doing more or less the same thing with found objects. Then, at the very end, Michael Morley of the Dead C played loud electric guitar, saving us all from catalepsy.
Originally Posted by Christian Miller
I agree. His Dartington Concert is a masterpiece.
Originally Posted by Christian Miller
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Well, here's your nightmare, provided by Christian Wolff:
Originally Posted by Litterick
edition wandelweiser records
I've heard good and bad examples of electro-acoustic improv, reductionism, microsound, etc. But there is good and bad in all types of music. The line between good and parody can be thin. The line between audience and performers is also pretty thin. It's a community and I don't want to diss it. Besides using improvisation it has very little to do with jazz.
Thanks, I will check out the Dartington Concert!



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