chords and scales ! WOW

[supster]

I made an update to my chords and scales collection.
Here's a package with 40 chords and 80 scales.
Install them into the following directory.

MAC OSX:
User / library / Application Support / Ableton / Live 4.1 / UserPresets / chord
User / library / Application Support / Ableton / Live 4.1 / UserPresets / scale

Windows XP:
Documents and Settings / User / Application Data / Ableton / Live 4.1 / UserPresets / chord
Documents and Settings / User / Application Data / Ableton / Live 4.1 / UserPresets / scale
CLICK HERE TO DOWNLOAD
Cheers

-B

nice! great work on these ... Thanks!

[MrYellow]

For anyone that knows classical western theory and finds it comes up
lacking. I highly recommend "George Russell - Lydian Chromatic Concept
of Tonal Organisation". http://www.georgerussell.com/

George worked with Miles and friends, he's managed to build up a very
descriptive theory of how this new modern jazz thinking works.

In it's basics it's quite different, you use "Tonal Levels of Gravity" which
are based on 5ths. Each level introduces new color tones and takes you
further away from your base level of gravity. You can then use these
levels quickly in your playing to introduce "outside" sounds while having a
clear way to look at where you're getting these tones from.

The book is written like a technical theory, each sentence and paragraph
is quite clear and even the hardest concepts are clearly defined and just
take a bit of looking over. Very concise writting, contains all the reasons,
all the info.

This isn't for beginners. Although you'd do well to skip traditional theory
and go straight to Lydian theory, this is a bit impractical as you'd need a
teacher that's well versed in Lydian theory to do it properly. However if
you already know normal theory then Lydian theory opens a lot of doors.

-Ben

[MrYellow]

“The Lydian Chromatic Concept is one of the two most splendid books
about music; the other is My Musical Language by Messiaen. Though I’m
considered a contemporary music composer, if I dare categorize myself
as an artist, I've been strongly influenced by the Lydian Concept, which is
not simply a musical method--we might call it a philosophy of music, or
we might call it poetry.”
Toru Takemitsu, Swing Journal interview, Tokyo.

“The simple melody was an experiment inspired by an evening Miles had
spent with...George Russell who at the time was working on his...Lydian
Chromatic Concept...Miles was fascinated by Russell’s approach. Here
was a means for breaking free from tonal cliches while maintaining some
amount of restraint. Shortly after his evening with Russell, Miles recorded
his new composition demonstrating Russell’s basic principles.”
Round About Midnight: A Portrait of Miles Davis by Eric Nisenson, Dial Press, New York.

“Consider the circumstances. Miles took his musicians into the studio for
the first of two sessions for Kind of Blue in March, 1959. At the time
modal jazz...was not an entirely new idea...Originally, the idea for this
kind of playing with the concept of composer George Russell.”
Liner notes for Kind of Blue by Robert Palmer, Columbia 1355.

“Russell is responsible for what remains the most significant single
theoretical treatise written about the music.”
Morton and Cook, The Penguin Guide to Jazz, Penguin Books. London.

“Surpasses any musical knowledge I’ve been exposed to.”
Ornette Coleman


“Gives you so much more to work with.”
Eric Dolphy

“George enlightened me about a different way of playing music, an
analytical way which enabled me to go on learning about music on my
own.”
Jan Garbarek

“The foremost theoretical contribution of our time---destined to become
the most influential philosophy of the future.”
David Baker

“Far ahead of any book in the field.”
Gil Evans

“The past, the present, the future, all in one. A must for the serious
musician.”
Art Farmer

“Miles Davis became the first major jazz musician to be influenced by
Russell’s ideas, and in 1958 he composed...Milestones, which was based
on two modes...He recorded Milestones with Coltrane on April 3, 1958,
and both men felt liberated by the new harmonic philosophy. Davis
continued to work on Russell’s concepts, and...he created five selections
for the first all-modal album, Kind of Blue.”
Stan Getz: A Life in Jazz by Donald Maggin, William Morrow, New York.

“It is indeed quite possible that much of the jazz rock of the seventies
would not have existed if it weren’t for Russell’s pioneering work.”
Eric Nisenson, Music and Sound Output.

“The first work deriving a theory of jazz from the immanent laws of jazz,
not from the laws of European music. The Concept was the great path-
breaker for Miles Davis’ and John Coltrane’s modality.”
The Jazz Book by Joachim Berendt, Lawrence Hill Books, Chicago.

-Ben

[12ax7heaven]

Is there supposed to be a seperate link for the Mac chords and scales or am I just not understanding how to open these? I downloaded the file and placed them where you indicated, however I seem to be unable to open them from Live. I am interested to try them out so let me know if I missed something.
Cheers
©

[hoffman2k]

Is there supposed to be a seperate link for the Mac chords and scales or am I just not understanding how to open these? I downloaded the file and placed them where you indicated, however I seem to be unable to open them from Live. I am interested to try them out so let me know if I missed something.
Cheers
©

they should work just fine.
If you are using live 4.1.1, then you will have to put them in the live 4.1.1 folder

[::mic-minimal::]

funny shit jbo

[::mic-minimal::]

great thread by the way.

[udp]

For anyone that knows classical western theory and finds it comes up
lacking. I highly recommend "George Russell - Lydian Chromatic Concept
of Tonal Organisation". http://www.georgerussell.com/

George worked with Miles and friends, he's managed to build up a very
descriptive theory of how this new modern jazz thinking works.

In it's basics it's quite different, you use "Tonal Levels of Gravity" which
are based on 5ths. Each level introduces new color tones and takes you
further away from your base level of gravity. You can then use these
levels quickly in your playing to introduce "outside" sounds while having a
clear way to look at where you're getting these tones from.

The book is written like a technical theory, each sentence and paragraph
is quite clear and even the hardest concepts are clearly defined and just
take a bit of looking over. Very concise writting, contains all the reasons,
all the info.

This isn't for beginners. Although you'd do well to skip traditional theory
and go straight to Lydian theory, this is a bit impractical as you'd need a
teacher that's well versed in Lydian theory to do it properly. However if
you already know normal theory then Lydian theory opens a lot of doors.

-Ben

I haven't read it yet, but now I'll have to. It sure looks similar to Hindemith's theories written in the 30's. There is so much more to theory than pitch organization. Orchestration and Form are my personal obsessions. As I write this I'm listening to Lamb, their orchestration is incredible, every instrument has space. Their harmonies are interesting, but not ground breaking, but their sense of melody and orchestration are impeccable. I reccomend Walter Piston's book "Harmony" for beginning students of pitch organization.

[Jbo]

in other words, the more you TRY TO MAKE SENSE of the "overhead" things in the pursuit of theory and its teachings of the number system, the better you will be pleased with yourself afterwords
I read my brother's piano tuner's book "allied arts" and then I realized why some guitars seem nearer perfect than others but no such thing as perfect tuning exists except in the mind of man or God perfect tuning has to do with perception alot like the forest, and trees ,and ears, to hear the chopped-down-tree, etc the theory of there not really being any sound if not perceived by a listener...actually I never liked my "understanding of that idea, but accepted it.......... but after studying PianoTuning and the Allied Arts... I know now, how very little of "all things" I have actual concept of.....

But if I had to boil it..
I can't see much end result other than this

Large numerals( Roman) usually indicate the root name/chords and the numbers are used to define all aspects of melodic speculation chords intervals and all in betweens...definition...the "spelling " of chords

Using the "do re mi" ditty we all learned in nursery school substitute 12345678 instead of do re mi fa sol la ti do... and there you have it... essentially with some contemplation, of course.. but thats it in a nutshell what they use in the studio can be defined in this way, in its entirety.

[conny]

If no one knows the theory, does it exist?
Just a bump.
I'd like to learn.
// C

[raapie]

I am a modal fan, but recently have had discussion with people who thought it didn't work out for the them. I use modal for most of my music. I started using it when I started playing jazz for a few years.

my suggestion still is to focus on modal arranging with the added subtleties of focus on chords for some changes and add tension and release. but I guess the only real theory is : any note can be played over any chord. so you always have a choice of 12 notes. playing by ear is the best. training that, is the best practice you can do in my opinion. playing and listening for ever!

[Jbo]

I think I agree all totally .....
" instead of fifty thousand unique, different chords", or more,
A person may, if he so chooses, oversimplify his "handle" on his available unique chords, each of which is quite unique in the strictest sense but for the sake of normal people like me and many of you, this oversimplification doesn't come any too soon, at all....... and one of my biggest pet-peeves "overcomplicationists" or those who want to make things as complicated as possible for some GD reason. But since those types seem to always get chosen for the "authority" jobs, they are the ones who teach you must learn ALL of those definitions or multiplication tables or science terms or spanish terms or whatever it is.. you know what I am talking about.
I don't have all the answers so I still am the lifetime student age 52 but I am damned proud of it cuz I am also that well satisfied to have been blessed with another day of life!
Back to my point If you just memorize all the fundamental scales you can use those to 'SUPERIMPOSE" UPON A VARIETY OF DIFFERENT BASS-"TONIC"S, OR BAS-NOTES.. AND EACH OF THOSE UNIQUE SOUNDING CHORDS ARE A DIFFERENT NEW NAME THAT I DO NOT KNOW (sorry)

I don't know the names of the technical terms nor do i have my sightreading skills down to the sight playing level really, I can get the gist when the music is not able to be heard. I play by ear, but i could not do it nearly as well if I had not done intense reading attempts at trying to understand the theory of the allied arts

when you said there are" 12 "I knew we used the same funamental method... cuz there are indeed 12 possible variants(for the root) of any one chord, giving the plaYER A MASSIVE PILE OF STUFF TO PLAY, NONE OF WHICH IS LIKE THE REST
(sorry again)

[MrSleep]

very insughtfull discussion, though I would still like to have gander with the one sweetjesus was refering to..

SWEETJESUS!!! Its a dead link.. Dont you have a copy of the page on your drive?

[MrYellow]

There is a reason for there being terms in anything.....

It's so you can communicate your ideas with others in the same language....

I know what you mean by "'SUPERIMPOSE" UPON A VARIETY OF DIFFERENT
BASS-"TONIC"S, OR BAS-NOTES.. AND EACH OF THOSE UNIQUE SOUNDING
CHORDS ARE A DIFFERENT NEW NAME THAT I DO NOT KNOW "...

but I only have a general idea......

You can't tell me any specifics because we don't have a common language
to discuss it in. This is what terms are all about.... It's not some trap, or
some invention of elists bastards.... It's just a way to communicate musical
ideas.


Besides that.... u'r absolutely right.... "fifty thousand unique, different
chords" is a total waste of time.... Learn how to build chords and you'll have
100x as many with only a few simple tricks and techniques.

-Ben

[sweetjesus]

very insughtfull discussion, though I would still like to have gander with the one sweetjesus was refering to..

SWEETJESUS!!! Its a dead link.. Dont you have a copy of the page on your drive?

MRSleep, your prayers have been answered...I'm gonna use my 999th post to help you out!

Archives of those two links (and just about most websites out there) can be found via http://web.archive.org/

To save you time, I looked those two links up specificially and here ya go..

http://web.archive.org/web/*/http://www ... /modal.htm
http://web.archive.org/web/*/http://www ... s/keys.htm