Why don't you analyse the second "more complex" motif as a four note arpeggio with the first note displaced an octave? it seems a much more straightforward analysis.

Tom concludes at 1:25:31

i hate rick beato, AND his eyebrows

Thank God someone made this video. Thank you to Bebop Review. // I don't find Adam Neely to be very wise, and he's put his foot in his mouth from topics ranging from culture & race in music, to his simplistic ideas about the phenomena of Perfect Pitch and even the function of tuning and discrete tone itself, including droning and meditation. A SIDE-COMMENT: I don't really understand why, basically the early Germanic composers should note be at the top of the Greatest of All Composers. (Exception of non-Germanic Chopin and Debussy took off from basically Beethoven. But they were still "white."). The famous white, German Classical composers are simply the documented history of harmonic innovations in the 12-tone system of Western music. Systematically. // Those composers laid-out the foundations of music theory as we know it. Even later in in Nazi and pre-Nazi Germany Paul Hindemith wrote some of the earliest concise and uber-thorough studies and discussions of music theory. And Hindemith himself literally invented is own cerebral (if not freakish) harmonic language. // Whether Chopin was "better" than Miles Davis is, to me, a non-argument. It's more about following the lineage of musical "evolution," Bach to Mozart/Hayden, to Beethoven, and then branching out to Brahms/Chopin and finally Debussy and maybe Wagner. Debussy and Scott Joplin as a unit almost single-handedly opened the door to jazz. I think Adam Neely is a bratty little ungrateful putz, but mostly because of his attacks on A432 Scientific Pitch as a spiritual & physiological grounding in frequency and tuning itself. Not only does Neely not believe that choice of key affects the _emotion_ of the music, but he actually makes fun of people who believe so; even mocking the writing of cellist Pablo Casals when explaining the intrinsic essence of E-minor. Please look into my note-to-color music theory here on uTube at: _The Acoustic Rabbit Hole_

I wish he wasn't interrupted... 🙄

I've written lyrics to 35 of Charlie Parker's Classic solos and solos kzbin.info/www/bejne/jJ6tfZyXhZV4qM0si=t1JS9flBOrkuO4Xo

Everything bop- be bop starts with Bird.

Poor Charlie he was genius and heroin adduct at age 19

He actually kicked heroin several times but always went back. When his daughter died it destroyed him and he died a year later

although the narrator was speaking off of researched material I don't think he gets it... He doesn't understand Bird's roots in Lester and others - I much prefer hearing Mr. Parker speaking for himself.. He was very articulate. the interview with the great Paul Desmond is worth listening to though.

Bro, you’re the realist on this subject… no agendas! 👏🏽

Ohhh great video, i always though that Adam neely was a up clases adoctrinator jaja

Thanks for this. So much is already known about Parker and drugs. You have the quotes from Bird and musicians who were there. 👍👍

The tonal gravity concept has a flaw. If you are relying on a fifth (D) to support the fundamental (G), and then the fifth of D (A) to support it further, you are now looking at a ninth. Problem is that the ninth does not show up in the overtone series of the fundamental until after the major 3rd and the flat 7th. So just from the standpoint of physics, it’s a weaker support than either of those two - yet there it is in Russel’s conceptualization as the second most important support note for that G! Lydian chromatic certainly has a place in one’s knowledge of harmony; indeed it is key to much of the modal jazz that came after bebop. But it is not a replacement for classic Western harmony.

Parker learned bop from Mary Lou Williams.

You are wasting your time "analyzing" "DownBeat," "Metronome," or most any other "jazz press" article on black jazz musicians written in the Jim Crow 1940's and 1950's. Most of the mainstream white music "critics" who wrote about jazz during those legally racist and Segregated days were either hostile, incompetent, uninformed, or all of the above when it came to black jazz musicians and several - especially Mike Levin at "DownBeat" and other self-appointed "authorities" on the music, specialized in creating public controversies and negativity surrounding black jazz musicians and trivializing their accomplishments. It was not unusual for many of these writers to flat out fabricate quotes, reasoning, comments, or explanations and attribute them to the mouths of musicians to stir up controversy and circulation. Miles Davis would later castigate these individuals for writing bullshit liner notes comments on his albums. Many of these 1940's and 1950's writers were not liked, nor trusted by black jazz musicians - especially musicians playing Parker and Gillespie's music, as opposed to those playing Louis Armstrong's or Swing, for example. Musicians dealt with the lot of these writers - despite their dislike of them - largely because there was little to no alternative in legally Segregated 1940's and 1950's.

I give George Russell an "A" for effort. There is value in his ideas even if the theory as a whole may be overly-ambitious.

Dodo bird f Lydian chromatic scale is based on two major chords being used that have no avoid notes. ,if you change around the order like you are it’s not a Lydian chromatic concept ... dfac is not efface fgbd pattern

Cookie cutter systems are stupid , it’s not the same they as learning scales to be interchanged

The best part of this is listening to the narrator try to pronounce the letter Y at the end of a word.

that is my transcription, bye the way.

In the classical tradition, D-flat‘s relationship to C is substantial. The first inversion of a D-flat major chord is known as the Neapolitan Sixth. Another way of looking at it is that it is based upon the tritone relationship to the Dominant, G7.

Thank you for taking the time to provide education on this topic. George Russell‘s work is an important part of the body of music theory. There’s a lo t of wisdom and hard work and bodied in this book. It’s not the ultimate truth, but it is one very talented person’s truth, and is helpful to musicians of any genre if they have the discipline to read the book.

A Lydian dominant scale contains zero avoid notes.

Mr. Parker was not offered his first fix in a bathroom in K.C.. That's fake news! He was severely injured in a car accident, was laid up for months and administered morphine sulfate by his doctors and never broke free of the chains of addition! Bird Lives! Beware of the tragic magic!

relevant content starts at 6:00

Since DmM7 needs to avoid D, what about Cmaj7？ Then Cmaj7 wants to avoid C in that case. I'v tred so many times, if root C goes too low ,then C needs to be avoided in Cmaj7. But when C goes higher in the chord, for example Cmaj7/G(2nd inversion), then it seems no need to be avoided.

I think maybe G7sus2 or G7sus4 should be the II chord for Lydian Scale. There wouol be no avoiding note in these two chords. G7 actually should be II chord for Lydian Augmented, rather than G7#11. For G Lydian Dominant Scale doesn't want to avoid any note in G7, but D should be avoided in G7b5. And D also does not sound good in G7#11. I meant maybe G7 is the right chord for Lydian Augment Mode, not G7b5 or G7#11.

Best Vedio for learning Lydian Chromatic Concept, although it's a critical review.

There MUST BE a simpler way to explain this?

Your insight into the history is amazing, and I'm very much here for that. But taking 15 minutes to analyse 8 bars of notation of a solo at 300bpm (what's that, 5 and a half seconds of music?) note for note was a bit excruciating, and could have been handled better. Id just say something like Up D major (I), turn - up B7b9 (V of) - chromatic then down Em - up to A7b9 (II V), back down - D (I) Barry Harris bebop rules for eighths - back up and enclosure on B7b9 (V of) - enclosure and up Em9 (II) - pentatonic like on A13 (V)

Bird Lives

I find it hilarious that Brent's derivation of Ionian is far more complicated than the a common one for Lydian, stack 7 perfect fifths, and arrange the resulting notes in linear order.

Your example definitely sounds worse.

My question to you is when Russell talks about the pythagorean lydian is he talking about an equal tempered scale or an actual pythagorean scale.with with actual perfect.5ths? Then when he talks about the western lydian he means equal.tempered?

Lydian should have +4 doubled, you can form a tritone in F lydian from F to B, or from B to F. It's a minor nitpick, otherwise this chart is really helpful c:

19:18 the way I've understood the avoid notes is that including them makes the lydian scale, i.e. G7add4 = G B C D F, the G yields tonical authority to the C, which yields tonical authority to the F, making a lydian scale. So, mixolydian has the 4 as an avoid note, but Lydian/II does not.

Nothing worse than brit w0nka to discredit blacks, ain't it?

The River Trip is a chart with an X axis and Y axis. One axis is the artist, the other represents that artist's relationship to Tonal Gravity (TG). The metaphor of a river trip from St. Louis to New Orleans is to demonstrate how Coleman Hawkins's style of outlining each chord is like stopping at every town on the the journey. Keeping to the analogy, Prez concerns himself only with the big cities on the trip. Coltrane has a jet plane that zooms far away from and back down to all the little cities. Ornette is in a rocket ship zooming into space to fly over everything and go from St. Louis to New Orleans.

kzbin.info/www/bejne/imPaqouCaJuDerMsi=4K-wI0SrOo4g_U_-

Bebop Review is one of thoses nasty racist wankpuddles that use fine art to nuance their hate, cause he's got no face to save

Good stuff here. And yes, I agree with Reed on his thoughts of 'horizontal' religion, philosophy, and especially, Western music. Goal-oriented.

5:31

For clarity, I think you should always say the accidental -- if you mean F#, say "F sharp", not "that F".

Dr. Baker’s series of books on bebop are actually very good and useful to studies if you understand functional harmony in the context of jazz improvisation. The irony here is that Dr. Baker’s references are actually based upon what the Jazz masters themselves played and he codified their tendencies in the books. He’s explaining concepts and practices. I am surprised that there’s no complaint about the sample materials not being transposed into every key. I think you mean well but you’re off point. And to use your corny computer playbacks to buttress your arguments is laughable.

i think adam has taken this video down i can’t find it anywhere

10:02 I've found that most of the alterations are also chord tones of a 7th +5 i.e in F lydian G# gives rise to an E7 +5, C# gives rise to A7 +5 etc it might not be totally consistently correct but I've tried the 7th +5 modulations with this idea and they seem to work well

After 16 episodes, I wasn't expecting the surprise ending where our hero and Adam Neely get married. Bravo.

still love it!!

A lot of people DO NOT s__g Charlie Parker off! Watch what you say KZbinr!! 🤡