Lydian Chromatic Concept Frequently Asked Questions Part 1

In this episode of "Theory With Bob," ‪@bobbyspellman‬ answers some of the most frequently asked questions from the Lydian Chromatic series episodes 1-10.
George Russell's Lydian Chromatic Concept of Tonal Organization: www.lydianchro...
The Ridgewood School of Music is now accepting new students online or in Brooklyn/Queens/NYC! ridgewoodschoo...
Find us on Patreon for bonus videos, exercises, and transcriptions at patreon.com/RidgewoodSchoolofMusic
Bob's IG: @bobspellman
FB: Facebook.com/bobbyspellmanmusic
Ridgewood School of Music FB: ridgewoodschoolofmusic

[@stephencook4577]

Brilliant series Bobby. I’ll go back and watch these again. This video was valuable for giving some different ways of looking at the concept. Thank you from Oz.

[@chasvox2]

Excellent!

[@GizzyDillespee]

Tonal gravity was too much in the perimeter of my thinking about this. When that's the central reason for considering improvisation via this system (9:10 and after) then it makes sense why I'd consider relating to music with the lydian chromatic perspective. I'm less interested in creating museum quality reproductions, but still didn't see a reason to try thinking in terms of lydian chromatic. I kind of already approached the tonic from the left side of the circle of 5ths, fairly often, because one of my home bases is psychedelic rock, and that can go pretty far in that direction. But approaching it as, being on the right side, and figuring out the parent lydian scale... I'm still intellectualizing that. I knew I'd end up leaving a weird comment, so I didn't watch the video for 5 days🤣.

[@harryleblanc4939]

Fantastic series. So helpful. One thing I've been mulling at. That's the raised 8th -- what seems like it should be the next note after the raised fourth. Adding fifths gives us the lydian scale. Conversely, adding fourths gives us locrian, so they seem like extreme poles. But if you raise the eighth of the lydian -- the root -- hey presto, you're in locrian a half tone up. How does that fit into all this? It makes intutive sense that if you keep raising tones, eventually you'll modulate to the next key center. But the lydian chromatic concept seems to dodge this. Can you shed some light? Thanks!