I want to share with you my favorite example of this advanced jazz theory being used. ( Lydian chromatic concept)
This is John Coltrane live 1965 "my favorite things"
Please listen to it all the way through , I hope you enjoy.

I have been a bit sick, I am going to continue putting up the next section very soon. we have only barely begun to cover this material and there is so much to share with you.
I hope you are inspired and excited!

 

The only important thing that LCC did was to to open the eyes of the jazz musicians to the relatively unexplored until then modal way of playing. The whole lydian theory is 100 % trash and was discredited more than enough times- the author didn't really know what he was talking about most of the time and there are real fatal acoustic errors in the book.

What sounds good is based on acoustics and psychoacoustics, not on funny theories. There are more than enough ways to play "jazz" using different idioms as long as there are some extended chords in the background (which is the main jazz trait for the normal listener).

BTW, MMJ, aren't you recycling material from some of your older "how to jazz" forum posts? (Or I'm having mandela effects...)

 

Classic, "didn't read the thread" statements that if you did "read it" would show your chosen sentences "incoherent".
everything in this thread is demonstrated. there is nothing controversial.
I shared information that I backed up and demonstrated .
your trash talk is a joke clown shoes. ( it shows you don't fathom what is being talked about)
Try instead, to go back read it and look at the visuals and audio that demonstrates step by step what in fact is being talked about.
If you want to make any intelligible "case" that

You need to come up with an explanation of how I could easily demonstrate using visual and audio examples of the consonance of the system , how it works step by step and how I was able to demonstrably shows the benefits over classic western "ionian" diatonic theory.(since you did not read the thread Ionian KEY of C major has 7 chords, 2 are unity with Cmajor( 1 being relative minor,) 4 are unity with G7.

audio example right here.
https://mega.nz/#!faJTQRQQ!fLB1dJ48b9jUAJ_qSRzQtBVVYfUvIZbNtD60zWJtcK8
YET
in Lydian chromatic concept
in the KEY of F lydian ( all same chords as before)
5 chords are at unity with Fmajor ( ionian and aeolian don't exist they are just inversions of Fmaj13 #11)

audio example right here.
https://mega.nz/#!6GQSHLLR!fSBLkMXlq6a1NVVvA3ncPbPKjO01eflAwh8KWhhcRSI
How can you possibly explain this? ( that i can demonstrate this all to be the case)
if it is "trash"
if it did not work, or was "discredited" It would be impossible to demonstrate it working and being superior to other options ( such as ionian classic diatoinic key of C major)
Since it was possible for me to demonstrate these things. you were demonstrably shown wrong before you even wrote you comment yet ( you didn't read it to learn your misunderstanding therefore with ignorance behaved embarrassingly as you have)
thanks for stopping by! have a great day;D

It very simple,

you start with 12 equal spaced notes.

pic a note say F go up 5th take note C up 5th G up fifth D, A E B
FCGDAEB
or
FGABCDE
this is called a Lydian scale.
every chord inside the note collection is expression of
Fmajor13#11 (FACEGBD)
all the chords are at rest when placed over a F note or chord.
this is called unity.

here is a simple song I made (electronica genre) with it.
https://mega.nz/#!maJFCDLD!PtBSe15sI8TKnzxJH8bOdoQhQFHqBN2dfUNAhP2oGJU

(visual step by step making of the song is here
https://audiosex.pro/threads/maybe-it-is-time-to-bounce.38438/
the foundation for the song is F lydian.

If you read them , you would know that the answer is "no"
those threads had radically different content and context .they share nothing in common with this thread.

 

Last edited: May 14, 2018

Why not using the musical staff ?
-Used since centuries regardless of style
-Easier to read than this graphic stuff on piano , you won't find this way of notation anywhere
-Just compare :


Musical staff is convenient for 99,999999999... % of musicians that can read music .
So why not using it ????
Lots of software to write music , muse score (for ex) is free
https://musescore.org/en/download

 

Last edited: May 15, 2018

There are going to be people reading the thread that going to get more out of seeing the piano roll and hearing the examples.
yes the staff is useful but only in some ways.
it is not useful to those who are not familiar with it
some people have no incentive to use a staff
it can be considered antiquated in this modern generation when one can show a visual image of very specific piano roll.
I am trying to present the aspects of music theory that pertain to knowledge of how MUSIC works and what to do with it.

I like the staff ,but it is a old invention which has to do with human culture, not music itself.
( there are times when i will use it, but if you see the images in this thread it is covering very specific thing. the parts next to come be are going to be much harder for people to grasp the staff, yet the piano roll will show only subtle changes from the images which preceded them.





P.s.
in the LCCTO
there is no such thing as Ionian or aeolian therefore you cannot show the Am7 and Cmaj7
those chords do not exist.( they don't exist in F lydian at all. BUT they exist in C lydian)
what you have for chords in their place are Fmaj9 and Fmaj#11 F maj13 #11 ( with A in the bass or C in the bass)

EVERY Lydian KEY removes Ionian and removes Aeolian completely.



To understand WHY aeolian and Ionian are omitted please go back read the thread from beginning. ( i already repeated that answer twice in replies to other comments )

 

Last edited: May 15, 2018

MMJ's goal is to educate masses on a forum mostly dedicated to computer-assisted musical creations. Among those, there's going to be a whole lotta EDM and other subgenre composers/producers who'll be able reading a roll more than a staff.
Even Sound on Sound use them.
Is Sound on Sound "ridiculous" too ?

 

Is sound on sound publishing threads on adanced jazz theory , lydian chromatic concept ?
Do EDM producers use advanced jazz theory to make their releases ?

 

why couldn't they?
how do you know who is or is not?
if they have not used it yet ,I am trying to give them a way to be able to use it for any genre they want.

 

SECTION III
----------





We covered the very basics so far of using a new system, where unity is goal ( home, consonance)
instead of the classical system diatonic KEY where 4 chords unity with the Dom7 chord and only 3 home chords.

Now that we have covered the basic KEY with Lydian, there is something even more exciting not only do we have a lydian KEY for each of the 12 chromatic notes. we actually have 8 varieties ( for each of the 12 chromatic notes)



Each one of these is an option instead of choosing the plain Lydian KEY.
we can see in the above chart the associated chords that go along with the KEY, as well as which notes are altered from the standard lydian.

This is the integration of all 12 chromatic notes in relationship to F lydian as the center point.
this means any of the 8 of these keys can resolve back to the standard lydian. or you can stat with the standard lydian and travel outside using the other 7 keys.( all while F being the center point)

 

Last edited: May 15, 2018

We are going to take a very specific progression in standard Lydian KEY, which stays in unity ( consonant) while traveling through the chords in the KEY.


here is the sound example
https://mega.nz/#!GeQj2Qza!32CyYeAC1UQK4yPc68noz0P8jskUJ7Bgd6OLIFHYhog

What we have here is the KEY of F lydian,
the chord progression of
Dmin7, Fmaj,Bmin7flat5, Fmaj,G7,Fmaj, Emin7,Fmaj

this is ALL of our chords, as well as each resolving back to the Fmaj home in order .
we are using the gravity built into the unity to arrive at this progression.

 

Last edited: May 15, 2018

Next referring back to our 8 vertical lydian KEYS,


lets go to the lydian augmented KEY which sharpens the C note to C#.

We are going to take our standard progression from before and just alter our C notes to be C# notes.



here is the audio example of the F lydian augmented scale in standard progression of consonance

https://mega.nz/#!jXoGCTzQ!zkkLqbl7zyMuJVH9q2KEICu0aBsrKoD0P8y90JnmWiY
(please ignore the audio section after the progression shown i forgot to clip the end off haha)

we can now hear what makes lydian augmented different than standard lydian. ( flavor)
even though lydian augmented progression is still in unity

lets look at our original progression again.

this is all the ways the make movement while still being the same as Fmaj.
we have a way to express every flavor while still being the same as a drawn out long F note.
(look at bottom F note)

You can now make your music spiral in and out move in a any direction you want , ( within any restrictions set by the song already)
because you can think in terms of every possibility ( with specific F center point)

Now this is still just the beginning!
because next up (soon...)
we are going to expand to larger than KEY structures.......................

 

Last edited: May 15, 2018

We can see that in our chart the next vertical KEY is Lydian diminished.

it is the same as standard lydian except for a flattened A, so A to Aflat (G#)

Now we are going to take our standard unity progression and modify the A to be Aflat now this is what we get.



here is the audio example of F lydian diminished Vertical KEY. ( in standard progression)
https://mega.nz/#!LbIVHC7R!wREBHGTPpv7PpJDLaEw8sdvV6T74NWbb3SNzvhm3bZM

we can hear that although like the others the progression is at unity ( consonant) ,it still has its own unique DARK flavor.

 

"Why couldn't they?" You are right : why couldn't they . But any one can admit that EDM "sound" is far from the music of G Russel or John Coltrane that you choose as an example in this thread.

"how do you know who is or is not?" I don't know , just listening , once again any one can admit that EDM "sound" is far from the music of G Russel or John Coltrane that you choose as an example in this thread.

btw the audio examples are a perfect illustration of your talent
great theory demonstrated by brilliant musical audio examples ...
As you said : you offer what music schools do not offer .That is true my friend

New concept : advanced jazz theory & education using piano roll and muddy sounds (ever heard ofto illustrate a unique vision of music .
Interesting ...
Nothing more , piano rolls and sounds speak by themselves and every one is allowed to like
it so ,enjoy everyone , bye

 

next vertical Lydian KEY up, is the F lydian flat 7 vertical KEY

Notice this key flattens the 7th making our F a dominant chord F7
this gives a very cool dark flavor as well.


here is the audio example of the F Lydian flat 7th Vertical KEY
https://mega.nz/#!7TA3TL7K!_sz6wFtZGrtAiFSAMRtQb_SRb6ytbDmbmGUcGaJKoRE

 

you seem to be confused.
if my examples and what information i am now posting does not clear it up for you , then i am sorry nothing else i can do to help you understand ( that G russell's and john coltranes music has nothing to do with anything. I am posting what DOES have to do with anything (regarding using this for EDM or any genre.)
I don't have time to play around just read and concentrate ,
or don't do that if you don't want to understand it at all fine sir.
I am demonstrating everything in a demonstrable and concise way.
If that is not good enough for you than you are trolling.

 

the next Vertical KEY we have is the F whole tone scale.

Notice that we have 6 notes now, a c# and d#
(also notice that we have less chords in this key )
we will make the necessary changes to our progression to make it work for this whole tone scale.



here is our audio example for the Vertical KEY F whole tone.

it is at unity as the others but a real powerful flavor to it!
https://mega.nz/#!vaRhQT4b!6XaSSUStj7KO8geg0co80wisHuZNTVopBSmCaf1_ZEQ
Notice that in this instance I decided to keep it a 7 note scale and borrow the D note, you can remove this also to stay true to the F whole tone if you like also.

You can see that at this point in our lydian Vertical KEYS(after this whole tone) , We are starting to run out of chords available in the KEYS , it just means that when using these scales the notes are representing mostly the F chord.( in the case of the WH diminished vertical scale, it is representing the Bmin7flat5 flavor )


In our new system a KEY works differently.
A KEY is a representation of a single note in the case of the 8 F lydian KEYS above
this is every representation of the F note, through progressions, chords, and lines

So instead of a home, and away from home type of key
we have a KEY as a unity. which is every possible way to express a F ( in this case.)

this new system makes music a fractal.
https://en.wikipedia.org/wiki/Fractal

It means a new way of thinking where every possibility is at your fingertips at all times.

it means any location of your playing or a song which for a moment has a F note or Fmaj chord,
everything i have shown you about the 8 vertical F lydian KEYS

can be swapped out instead of that Fmaj chord or note.
this is why it is a Fractal.
because you can zoom in or out ( any amount of detail you put into it)
infinitely while the parts always contain the whole.

 

Last edited: May 15, 2018

I was referring to that :

I am not trollin , i just say that you can not say something and it's opposite .
Any how, whoever disagree with you is a troll . That is clear .
My first remark was just about the practical use of music staff when related to music theory , as the whole world is using it because it is the most convenient way to write music .This point is not a point to argue if we want to be serious and have a minimum credit , period .

The second remark was about the audio examples that perfectly reflect the way you talk and write about music .
But for the sake of your fan club i give you a very basic tip to avoid the muddyness of your examples :

Learn about "LIL" : Low Interval Limits , and use it :
Just raise up the register , it will be less muddy .The idea is "do not play close voicings in the low register" , unless you want the effect it produces : Muddy and undefined sound

 

yes i posted an example of someone using it in that case john coltrane used it for what he wanted to make in the context he played in.
I then posted a electronica example of my own song i made week ago using it.
https://mega.nz/#!maJFCDLD!PtBSe15sI8TKnzxJH8bOdoQhQFHqBN2dfUNAhP2oGJU

so the question is why are you omitting that information?
(which the omitting of it, led you down a wrong conclusion.)

it has no connection to the topic or the material, you are just talking about a random idea that exists in music.
I can hear down to the zero octave just fine with my playback system.

listen , if you want to talk about the topic in anyway im happy to, but otherwise i am going to ignore your distractions.

 

Last edited: May 15, 2018

It is an advice related to your audio examples which are in the low register , perfectly related to the topic

 

you are being a clown right now.
those examples are crystal clear with zero issue even laptop speakers can handle it just fine. these examples or not parts of a song with chosen voicings etc.
the examples are demonstrating the fundamental structure itself .
when you actually go to make music, that is when you choose your voicings and counterpoint and contrapuntal melodies.

if F1 is "too low" for you( a single low f1 with ALL other notes in higher 2 octave ) , then i am sorry that you cannot enjoy any music made in the last 60 years lol.

those ranges are of the standard tuned electric guitar and electric bass.
elvis played in those ranges every song on the radio is in those ranges. if you actually struggling that is a issue surrounding your personal hearing not my examples.
you are more than welcome to do them a octave higher for yourself (the examples visual and audio are there for you to re-create what is being discussed so that you can participate at home my friend.)please do the examples in a higher octave to feel more comfortable with it .
and remember these are structural examples.

 

Last edited: May 15, 2018