MMJ probably it will be about what is needed for any basic musical need right? but with some interesting aspects with jazz in focus, could be fun. ill be looking forward to it. there is always something interesting to pick up even if im not into jazz specifically. regards.

 

You are a troll and uneducated degenerate.

Acoustically perfect, right.. Locrian can be generated by stacking fourths and many modern jazz voicings are in fourths, not in fifths , why not call Locrian the perfect master scale? Dorian is the symmetrical scale, why not tell it's the master scale? Major is the result of 3 major triads stacking, Natural minor is the result of 3 minor triads - there is no reason not to invent some stupid theories for any of these and rename all scales like Russel did.

The acoustically perfect scale is the overtone series (as long as we don't play anything with more complex vibrational model), so we are limited to scales for strings and brass, and similar (typical Oriental and African instrumentation requires slightly different master scales): 1,2,3,4,5,6,7,8,9,10,11 to infinity etc - so, the scale is made by the intervals of octave, fifth, fourth, M3, m3, septimal m3 (as heard in countless old bluess records), septimal whole tone, pythagorean whole tone, minor whole tone, ptolemy whole tone (still can be heard in greek and arabic/turkish music ), we can continue, but there is no point. It has nothing to do with the nonsense of Russel. The only resemblance to something "lydian" is in the harmonic segment 8 to 16, but notes are way off to anything in Western scale.

0: 1/1 0.000000 unison, perfect prime
1: 9/8 203.910002 major whole tone
2: 5/4 386.313714 major third
3: 11/8 551.317942 undecimal semi-augmented fourth
4: 3/2 701.955001 perfect fifth
5: 13/8 840.527662 tridecimal neutral sixth
6: 7/4 968.825906 harmonic seventh
7: 15/8 1088.268715 classic major seventh
8: 2/1 1200.000000 octave


https://en.wikipedia.org/wiki/Regular_temperament = or how to stack fifths or fourths to get meantone temperament, not "lydian scales" https://en.wikipedia.org/wiki/Meantone_temperament

http://www.jeff-brent.com/Lessons/LCC/LCCdiscrepancies.html

"
The main points that I gleaned from studying the LCC


1. It's ok to play a #4

2. I can play a whole bunch of scales (the same scales that I already know) over chords (the same chords that I already know), but I have to learn to call them different names

3. A side effect of the lack of unity makes the level of physical violence more prevalent.

4. The author thinks "The Star Spangled Banner" is Lydian
"



Btw, if we listen to some of the old Duke Ellington records (for example), we can hear stuff that is in no mainstream book. Good luck learning real jazz from the theories of MMJ - not that they can't be used, but they aren't some kind of key to the style. Imo, the students will be just more confused in the end, because of the all renaming and vague/idiotic tonal gravity ideas and similar.

 

Last edited: May 16, 2018

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