David Baker used to say that whenever theory and practice disagree, theory is always wrong. He cited examples in Charlie Parker solos where lines that should not work in theory did in practice. Bob, I think it is true that a strong melodic line over a given harmony serves the purpose of opening up possibilities for future musical compositional practice, much like the use of colors in painting. Inconsistencies in the theory are not so important as the vistas of thought that the theory itself creates. You have given much to think about and the context in which to work with these ideas and I thank you.
Thank you Bob for putting all these episodes together. Regarding rhythmic gravity, unfortunately there isn't any resources on the subject at least to this day. There was some talk coming from the George Russel estate about publishing a new book but this was years ago and nothing came out so I guess there isn't much to hope for as far as new publications are concerned (sadly). The one and only mention of rhythmical gravity came from an interview of Ben Schwendener. I wish he would have touched on the subject in his book but he didn't. Hopefully, you will one day ;)
Well, I might just have to go over my notes and do some thinking and put together a rhythmic gravity video, then! I have to take care of some other concepts first, but I'll put it on the list! Do you have a link to that interview with Ben?
Thanks so much for this series. I still think that the shift from lydian to locrian a half tone up is significant, but I get the value of skipping the flat 2 as long as we're hanging onto the tonic rather than shifting it up.
Hey thanks for your series, I just got the book last week. I was wondering if you could go over the test answers for Chapter 4 tests B & C? I’m a little confused and the answers in the back of the book aren’t present for those 2 tests. To me it seems that Test B’s answers for the PMT would be the same answers over and over again and we would just adjust the principle scale that fits the melody, in which case the test seems kind of pointless haha. Hoping to get some clarity on these tests so I can confidently advance further into the book. Really enjoying it so far, thanks so much for providing the official link!
Right on, glad to hear you've been checking out the book! I use principles of the Concept all the time, but I haven't revisited the book in a while, and I'd have to go back and check out those tests to give you a good answer. If you're still struggling with it after some further contemplation, send me an email and I'll try to help clarify it for you. Have fun with it!
@@RidgewoodSchoolofMusic Thanks so much for the reply! I did end up feeling good about those tests after revisiting the chapter multiple times. However now I am struggling with the Conceptual Modal Tonics from Chapter 6. I just rewatched your video discussing horizontal tonal gravity as I am pretty sure they are somewhat related. I found a video trying to explain conceptual modal tonics and didn’t find it too helpful. I’ve been reviewing this a lot but it doesn’t seem to be getting any clearer to me. Would you be able to give an explanation or video on conceptual modal tonics? Thanks again for the reply and video series!
You might have to take that up with the physics community, but I'd stand behind the underlying sentiment that if the theory doesn't match experience, we might have to change the theory and/or accept a little mystery.
David Baker used to say that whenever theory and practice disagree, theory is always wrong. He cited examples in Charlie Parker solos where lines that should not work in theory did in practice. Bob, I think it is true that a strong melodic line over a given harmony serves the purpose of opening up possibilities for future musical compositional practice, much like the use of colors in painting. Inconsistencies in the theory are not so important as the vistas of thought that the theory itself creates. You have given much to think about and the context in which to work with these ideas and I thank you.
I agree with that 100%. Thanks!
thanks a lot Bob for your efforts going through this timeless monument!
Digestible, drinkable, smokeable. Great approach, Bob. Many thanks
Thank you for sharing your knowledge with us!
Thank you Bob for putting all these episodes together.
Regarding rhythmic gravity, unfortunately there isn't any resources on the subject at least to this day. There was some talk coming from the George Russel estate about publishing a new book but this was years ago and nothing came out so I guess there isn't much to hope for as far as new publications are concerned (sadly).
The one and only mention of rhythmical gravity came from an interview of Ben Schwendener. I wish he would have touched on the subject in his book but he didn't. Hopefully, you will one day ;)
Well, I might just have to go over my notes and do some thinking and put together a rhythmic gravity video, then! I have to take care of some other concepts first, but I'll put it on the list! Do you have a link to that interview with Ben?
Thanks so much for this series. I still think that the shift from lydian to locrian a half tone up is significant, but I get the value of skipping the flat 2 as long as we're hanging onto the tonic rather than shifting it up.
arrived here 11mins after release: fascinating stuff, watching now
Hey thanks for your series, I just got the book last week. I was wondering if you could go over the test answers for Chapter 4 tests B & C? I’m a little confused and the answers in the back of the book aren’t present for those 2 tests.
To me it seems that Test B’s answers for the PMT would be the same answers over and over again and we would just adjust the principle scale that fits the melody, in which case the test seems kind of pointless haha. Hoping to get some clarity on these tests so I can confidently advance further into the book. Really enjoying it so far, thanks so much for providing the official link!
Right on, glad to hear you've been checking out the book! I use principles of the Concept all the time, but I haven't revisited the book in a while, and I'd have to go back and check out those tests to give you a good answer. If you're still struggling with it after some further contemplation, send me an email and I'll try to help clarify it for you. Have fun with it!
@@RidgewoodSchoolofMusic Thanks so much for the reply! I did end up feeling good about those tests after revisiting the chapter multiple times.
However now I am struggling with the Conceptual Modal Tonics from Chapter 6. I just rewatched your video discussing horizontal tonal gravity as I am pretty sure they are somewhat related. I found a video trying to explain conceptual modal tonics and didn’t find it too helpful. I’ve been reviewing this a lot but it doesn’t seem to be getting any clearer to me. Would you be able to give an explanation or video on conceptual modal tonics?
Thanks again for the reply and video series!
i really appreciate ur extensive summary of this book. u seem like a nice player and id love to meet ya some day!
Thanks Bobby
Super fun
Skipping and moving the b2 indicates to me that art trumps number in the basic structure of reality.
You might have to take that up with the physics community, but I'd stand behind the underlying sentiment that if the theory doesn't match experience, we might have to change the theory and/or accept a little mystery.