The Lydian Chromatic Concept of Tonal Organization. George Russell’s book, The Lydian Chromatic Concept of Tonal Organization, first published in , was. Instead, George Russell came up with his own theory which he called the Lydian Chromatic Concept of Tonal Organisation. Now, there’s something interesting. Here are some of the most frequently asked questions about the Lydian Chromatic Concept. This page can be read either as one continuous article from .

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The principal aim of The Concept is to grasp the behavior of all musical activity i. The Lydian Chromatic Scale is the most complete expression of the total self-organized tonal gravity field with which all tones relate on the basis of their close to distant magnetism to a Lydian tonic.

Its purpose is to provide a road map of the musical universe that tells you conncept all the roads are, but does not tell you which roads to take. For instance, to construct a C Lydian scale one could list the first seven tones on the circle of fifths starting with C, the desired Lydian Tonic.

When discussing this theory you need to dispense with functional harmony. There are 3 states of tonal gravity: Art Farmer said that it “opens chrmatic door to countless means of melodic expression” [6] and critic Joachim-Ernst Berendt described it as “the first work deriving a theory of jazz harmony from the immanent laws of jazz” and as “the pathbreaker for Miles Davis ‘ and John Coltrane ‘s ‘modality'”.

It is with pride and pleasure that we present this fourth and final edition. So if a Perfect 5th is the strongest non-root interval, we can build up a harmonically strong scale using intervals of Perfect 5ths.

Through the Concept the law of gravity is apparent. Since the interval of a fifth is the building block of tonal gravity, a seven-tone scale created by successive fifths establishes the most vertically unified harmonic order whereby the gravity falls down each fifth back to the singular Lydian tonic.


The Lydian Chromatic Concept of Tonal Organization

Chronatic though the frequencies may be, the 11th partial of the overtone series is almost always understood to be a flattened 4. If you could sit down and write stuff like that out George Russell’s book, The Lydian Chromatic Concept of Tonal Organizationfirst published inwas the first theoretical contribution to come from jazz, and was responsible for introducing modal improvisation which resulted in the lydlan recording of Miles Davis’ “Kind of Blue.

And again this is chhromatic the Perfect 5th is the 3rd harmonic in the harmonic series. Are there any historical and acoustical foundations underlying the Concept? Pages to import images to Wikidata Articles with hAudio microformats. Since it’s publication, there have been scores of books on the market which have “borrowed” bits of the Concept’s information, but there is only one original.

In other words, the fifth is considered to be the “foundation” or “cornerstone” interval. So, according to Russell, every chord has at least 11 scales that can be used over it — creating different levels of dissonance. This lydiaan the basis of the Dominant-Tonic relationship — harmonically the strongest possible chord progression. The art and science of tonal gravity Fourth Second printing, corrected, ed. What is the primary oeganization between the Lydian Chromatic Concept and all other theories of chomatic This page was last edited on 30 Octoberat The Lydian Chromatic Concept does not prefer the Lydian scale because it is “more closely aligned to the harmonic series than the major scale”.

Now, of course, there is much more to the Lydian Chromatic Concept than this.

Here are some of the most frequently asked questions about the Lydian Chromatic Concept. By using this site, you agree to the Terms tobal Use and Privacy Policy.

Lydian Chromatic Concept

I wasn’t about to get into an argument whether the 11th partial is closer to a 4 or a 4, I just pointed out that your mentioning the overtone series might be misleading, because Russell only uses the perfect fifth and nothing else from the overtone series as an argument for using Lydian as the basic scale. It even extends beyond Western music to some ancient forms of non-Western music. This case would be very hard to argue: As a full time professional musician and music educator,there were deep things in music that I had grasped aurally but could not explain.


Chtomatic past 6 months have been both enlightening and enriching. What is the aim of the Lydian Chromatic Concept? Using C as the Lydian Tonic yields the following note scale with enharmonic respellings: Its contribution is relevant in all stylistic genres of music and from all time periods.

George Russell’s Lydian chromatic concept of tonal organization. These things are now crystal clear. I rarely see productive conversations when people start using “cents” and “Hz” as you can quickly dissolve the inherent validity of any note. Bach and Maurice Ravel are included in the current volume to reinforce the all-inclusive nature of tonal gravity. So it’s a good thing that you edited your answer accordingly by tona, some text and quotes about the perfect fifth.

At the time modal jazz What is Tonal Gravity?

Lydian Chromatic Concept of Tonal Organization – Wikipedia

What is the fundamental difference between the Lydian and Major Scale? He wrote stuff like that and it was incredible.

If you want more detail — conxept the book and Good Luck — it is not an easy read…. Much more detailed and comprehensive answers to all these questions and the issues they raise are only made available chromafic the book itself, properly presenting the knowledge within the context of each chapter and lesson. Russell’s root scale follows the natural overtone series and runs from C to C with F sharp, rather than the customary F natural of the major scale.

From there on, it just gets a lot more complicated. Artists most often describe the process of creativity in transparent and intangible terms.