Trying to find a practice book for getting the LCC under fingers. The Baker Lydian books seem out of print, but the Jerry Coker, Patterns for Jazz book seems quite useful. Coker does make numerous references to Russell, and he addresses the Lydian Augmented scale specifically, as well as the 'auxiliary' or symmetric scales.
Coker's scalar patterns, which take up the first 100 pages or so, require the following adaptations.
(Category I) On a Major chord, the four primary scales, in order are:
Lydian Scale (#4)
Lydian Augmented (#4, #5)
Lydian Diminished (#4, b3)
Lydian b7 (#4, b7)
(Category II) On a dominant V7 chord, the primary scales are (also in order, related to their parent scales, and arranged from "in to out."):
Mixolydian
Mixolydian #4
Mixolydian b9
Mixolydian b6
(Category VI) On ii-7, the primary scales are (also in order, related to the above as parent scales, and arranged from "in to out."):
Dorian
Dorian natural 7 (AKA melodic minor)
Dorian b5
Dorian b9
In terms of Lydian parent scales, ii V I, in 'C major" (i.e., D-7 G7 CMaj) the parent scales would be
ii V (from F lydian) I (from C lydian).
(Did I get this right for a change?)
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An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice
An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice