The Jazz Guitar Chord Dictionary
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  1. #201

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    Quote Originally Posted by Christian Miller
    George Shearings conception for example.
    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.

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  3. #202

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    Quote Originally Posted by GuyBoden
    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.
    I think that’s what most people do with it these days?

  4. #203

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    Quote Originally Posted by GuyBoden
    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.

    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.

  5. #204

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    Quote Originally Posted by Christian Miller
    Derek covers this in some detail in his book. I get the feeling he was interested in bridging the divide.
    I had the impression that Del Boy wanted to unite all improvisers against their common enemies, the rank and file who play from scores.

    Quote Originally Posted by Christian Miller
    otoh the only people who’ve told me off for playing jazz in this context have been jazzers
    Everything in the right time and place.

    Quote Originally Posted by Christian Miller
    I tend to use the term ‘non idiomatic improvisation’ to separate from free jazz but of course you get a bunch of classical players in a room and, naturally, they invent works of contemporary chamber music haha (some of them are AMAZING at it, you record and tell someone that was a new commission and they’d be none the wiser.)
    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.

    Quote Originally Posted by Christian Miller
    there’s also the use free improv in music therapy. This is something Julie Tippetts (Kieth’s wife) is very interested in.
    Julie Driscoll, before she married.

    Quote Originally Posted by Christian Miller
    pebbles in the piano? That was a Keith thing.
    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.

    Quote Originally Posted by Christian Miller
    He wasn’t always plinky plonk though (although he certainly could be), his free pieces could incredibly ambient and textural, tonal even.
    I agree. His Dartington Concert is a masterpiece.

  6. #205

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    Quote Originally Posted by Litterick

    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.

    I agree. His Dartington Concert is a masterpiece.
    Well, here's your nightmare, provided by Christian Wolff:
    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!