The "Chromatic Lydian Concept of Tonal Organization"

Modal, I need a little help

Focus George Russell)

http://it.wikipedia.org/wiki/Improvvisazione_(musica)

Modal « Music had become too dense. A guy would come up to me and give me pieces full of chords that I didn't know how to play. »

(Miles Davis)

A new approach to improvisation was theorized by George Russell (composer, pianist, and musicologist) in his work entitled "The Lydian Chromatic Concept of Tonal Organization". Miles Davis's album Kind of Blue (1959) was one of the first examples of this new style of improvisation, called modal, in which prominence is given to the scales that the soloist can use, rather than to the harmonic progression of the piece.

The latter, in fact, is simplified to the maximum (see in this regard the progression of the track So What: 16 measures in D minor, 8 bars in Eb minor, 8 more in D minor with long improvisations in the Dorian mode) and constitutes a kind of sound carpet upon which the musician can expand their melodic inventiveness to the fullest.

Presenting long sequences of measures accompanied by a single chord is such a common characteristic of modal jazz music that it has become, in common usage, its current definition.

The modal style dominated the avant-garde jazz scene throughout the first part of the 60s, and was adopted during various periods, in addition to the aforementioned Davis, by the leading names of the period, such as John Coltrane, Bill Evans, Herbie Hancock, eventually becoming an integral part of the mainstream technical repertoire of jazz musicians.

What strikes me is that reading your blog it seems like something innovative, but I get the impression it's already half a century old... in fact, the wiki article speaks in the past tense; in some ways, it even seems almost outdated or at least a "normality."

Not that it is not worth knowing about, on the contrary, I thank you for the inspiration Modale and I ask you to tell us more about it

> harmonic progression of the piece

Details?

> This last one, in fact, is simplified to the maximum (see in this regard the progression of the piece So What: 16 measures in D minor,

> 8 bars in Eb minor, 8 more in D minor with long improvisations in the Dorian mode)

> and constitutes a sort of sound carpet upon which the musician can expand their melodic inventiveness to the maximum.

A sort of minimalism in Jazz...?

Certainly modalism is not a novelty, just as tonalism is not; the problem is that within a social custom in which the concept and consumerist desire for "everything and immediately" prevails, tonal music—which is teleological and reassuring because it is predictable since everything eventually resolves into the tonic chord—satisfies the requirements demanded by the listener so that they may say they like what they hear, or rather, what is being proposed to them by mass media. On the occasion of the Council of Trent, the Catholic Church abolished the modal system in favor of the tonal one, and it did so more to avoid... creative escapes than for an actual increase in the value of music. These were the times of the Enlightenment, when the idea of God wavered under the philosophy of Marx, and therefore tonal music, which reduces everything to a central chord and thus unconsciously to the idea of God, suited the Church.

I believe that the tonalism currently raging is a momentary social phenomenon and that modalism is a social and historical phenomenon that is quite otherwise concluded and achieved. "Music" cannot be reduced to a harmonic progression; that's fine too, but the purpose I am pursuing, which led me to open this discussion, is to inform the uninformed that music is much more than a turnaround or a harmonic progression around the base chord of the tonality. To see music only from a tonal point of view is like waking up one morning in July, seeing that it is raining, and then asserting, based on what was seen on a single day of the year, that it rains all year long. I believe that tonal music has said almost everything—as M. Davis also said—whereas modal music is in continuous ferment; those who follow it realize that it possesses enormous potential from a creative standpoint. Of course, proposing a non-consumerist idea using an internet forum can create a heterogenesis of ends, and I am aware of that. I also think that a forum like this is ready for a discourse... that is a bit particular.

http://www.armoniamodale.blogspot.it/2011/12/prefazione-al-trattato-di-armonia.html

modale wrote:

On the occasion of the Council of Trent, the Catholic Church abolished the modal system in favor of the tonal one, and it did so more to avoid... creative escapes than for an actual increase in the value of music. These were the times of the Enlightenment, in which the idea of God wavered under the philosophy of Marx, and therefore tonal music—which reduces everything to a central chord and thus unconsciously to the idea of God—suited the Church.

what what what?!?!

Modal? I suspect you and history are not on very good terms...

I believe that the tonalism currently prevailing is a momentary social phenomenon, and that modalism is an entirely different social and historical phenomenon that has already concluded and been achieved. "Music" cannot be reduced to a harmonic progression; that's fine too, but the purpose I am pursuing, which led me to open this discussion, is to inform the uninformed that music is much more than a turnaround or a harmonic progression around the base chord of the tonality. To see music only from a tonal point of view is like waking up one morning in July, seeing that it's raining, and then asserting, based on what was seen on just one day of the year, that it rains all year long. I believe that tonal music has said almost everything—M. Davis used to say so as well—whereas modal music is in continuous ferment; those who follow it realize that it has enormous potential from a creative standpoint. Of course, proposing a non-consumerist idea using an internet forum can create a heterogenesis of ends, and I am aware of that. I also think that a forum like this is ready for a... somewhat particular discussion.

http://www.armoniamo...di-armonia.html

You may continue to talk about it from a jazz perspective, but be well aware of the fact that the terms "tonality" and "modality" have been part of music history for centuries (and centuries).

"Modus" is used in medieval treatises to identify modes of psalmody intonation, which were then reworked into many... ways. If we take the current meaning of the term "modality," namely a system of musical organization based on hierarchical criteria, then modality has an UNINTERRUPTED tradition from the Greeks (before the 8th century BC) to today, which is almost 3000 years.

And, to clarify... tonality IS a modality, at least in ethnomusicological terms.

Then, I repeat, talk about it from whatever point of view you want... but be careful not to overstep into other fields so easily.

Certainly, with the Council of Trent, polyphony and the use of multiple musical instruments were practically banned. The importance of the word in relation to its meaning within the context of singing was asserted. Music itself was not supposed to distract attention from the verbal content, so the role of music was diminished, as it had to be "simple and sweet." What does this mean? I believe that the influence of the Council was significant, such influence projects itself to this day, and that in practice it set aside the value of music, generating "accompaniment" music. In my opinion, this actually marked the transition from modalism to tonality.

The Council's discourse is long, and it should be addressed; in my opinion, there is a bit of a mess being made between the Reformation and the Counter-Reformation.

As far as the Reformation is concerned, we are talking about the chorale... so, what music should accompany it?

As far as the Counter-Reformation is concerned, one musician fully embodied its sense, and that is Palestrina... we all know what language he expressed himself in, right?

If you want, I can bore you with all the details, but...

...the gradual conquest of modern tonality must be sought in other areas, meanwhile in the interesting theoretical debate, see people like TINCTORIS, RAMOS DE PAREJA, GAFFURIO, GLAREANUS, ZARLINO, VICENTINO NICOLA, VINCENZO GALILEI.

But following much further: Tartini and the Paduan theorists and then Rameau again... and let's say that theoretically we have quite a lot.

However, I wouldn't miss out on reflections regarding monody and basso seguente (and continuo) and the equal temperament system.

Tons of factors light-years away from the Council that led to the rationalization of modes... a process of rationalization that arrived over the centuries at having a single "mode" or scale... the chromatic one, up until the disintegration of the tonal system (we are talking about a century ago, not yesterday).

Today, those who express themselves do not use tonality... it is a false belief. I think that Jazz and Classical music, at a certain point, with due nuances, have become very close, especially in the last twenty years.

… then there are the nostalgics and a series of other parallel needs: entertainment, film music, pleasing an ignorant audience for profit, etc.

However, the topic of Modale is interesting and I reserve the right to approach it (as far as I am concerned) in a different way by posing structured questions... but it takes time, at least for me.

... let's just say I'll avoid responding to you ... I might come across as unpleasant.

@Frank, you are truly very patient... we are talking about a user who wrote that the Council of Trent was in the Enlightenment era, at the same time as Marx...

The Church foresees everything in advance, capturing cultural movements before they become clearly outlined and prepares "for the event," whenever it wants. I thought it was implied that times are different.

..sorry Modale, but this is fantasy history.

Better to return to jazz mode ... actually, could you do a basic illustration of the different modes and the relationships between them and the 8 Gregorian modes?

modale wrote:

The Church foresees everything in advance, capturing cultural movements before they become clearly outlined and prepares "for the event" whenever it wants. I thought it was implied that the timing is different.

If they were so good, they would have foreseen the Luther...printing combination, which allowed the Reformation. Do you think they had foreseen it?

Anyway, the council is notoriously a measure put in place for one of the many "tangentopoli" [corruption scandals] of history...let's say the problem was more political...than anything else.

modale wrote:

I also think that a forum like this is ready for a discussion ...a bit particular.

I had missed this fragment of Modale; regardless of the strange historical references, the subject interests me... I don't know how many others.

Eventually, if it's okay with you, by proposing a progressive path, we could seriously talk about this issue that is close to your heart. You could propose a little seminar; there is a specific section now used only for orchestration; establish a program, a schedule of appointments: a bit of theory and some exercises. ... and let's see what comes out.

If you are up for it, maybe we can do it with TheSimon to make the best use of that section

At school they taught us that the Risorgimento and its proponents had resurrected, or intended to do so, thinking of all of Italy. I was forty years younger than I am today, but I have always believed that the Risorgimento was only interested in one part of Italy. Someone at the time told me I was fantasizing. Today many agree with me because they think like I do. I always try to historicize what I learn about, to see it from a point of view that is not based on the period in which the event was born or the period I am living through; I try to evaluate not in a factual manner, but rather a functional one. It is clear that this exposes one greatly to criticism. In fact, opinions are always very different, but for me this is a stimulus, and I hope it is or becomes one for you as well.

That being said, hoping not to trigger another "whirlwind" and that this section of the forum dedicated to modal music continues on its way, I am following Frank's advice.

In the "seminars" section of this forum, I will continue the discussion on Modal Harmony and Composition. I will try to do so in the name of Music, and I would like help and advice from you as well to carry it forward. I believe that listening to my compositions is an aid of utmost importance to better understand and travel through this subject, which is not simple. I will do so as long as I feel there is enthusiasm for the topic. My compositions can be heard in the "I wrote this" section of the forum. I would appreciate a constructive spirit regarding the work we are about to carry out.

DISCUSSION ON IONIAN TONAL ORGANIZATION AND LYDIAN TONAL ORGANIZATION

The lydian scale must be placed at the center of the tonal system for one reason: because it is the bearer of the "pure major sound". The consequences of this are: a) The absence of the primary dominant cadence – tonic triad. The verticalization of harmony. The major scales that can be conceived as organizers of the tonal system are the ionian scale and the lydian scale. The ionian scale possesses two tonics. Example: in the C ionian scale, the two tonics are C and F, from which the C ionian scale and F lydian originate. Within the C-F interval, the tonic is F; therefore, in reality, the C ionian scale is a derivative of the F lydian scale. Consequently, the C ionian scale does not carry the "pure major sound" as it is a derivative of another major scale. The ionian scale carries the primary dominant cadence-tonic triad. For example: in C ionian we have the G VII-C ionian cadence because the F/B tritone resolves to C major. The lydian scale does not possess the primary dominant cadence-tonic triad; in fact, if we analyze the F lydian scale on the V degree, we find C ionian, which does not resolve to F lydian. The absence of the primary dominant cadence-tonic triad leads to a strong weakening of the tonal power of the tonic triad and of the centripetal force that causes all harmony to gravitate toward the tonic triad. The dorian/mixolydian/ionian modal sequence is nonetheless contained within the lydian scale; it is a VI/II/V, so the dominant on the II degree resolves on the V degree triad and not on the tonic triad. In this case too, the result is a strong weakening of the tonal power of the tonic triad. The ionian scale possesses two tonics, therefore the harmony that arises from it when placed at the center of tonal organization is a harmony delimited by its two tonics. The lydian scale possesses only one tonic and when such a scale is placed at the center of tonal organization, the resulting harmony is vertical because it is not delimited by another tonic. In lydian tonal organization, therefore, harmony is no longer subject to delimitations but can expand, assuming forms that are no longer obligatory as in ionian tonal organization, allowing the musician greater expressivity. In ionian tonal organization, notes foreign to the scale are absent notes, and when played they have a purely chromatic value, of embellishment, of color. In lydian tonal organization, notes foreign to the scale are existing notes, and when played they are structural and not simply passing notes. Bibliography: “Lydian Chromatic Concept of Tonal Organization” by George Russell Concept Publishing Company-Brookline, Massachusetts

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