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 . What is the best scale to play over a CMaj7? Most people would say the C Major Scale, but George Russell’s Lydian Chromatic Concept says otherwise. George Russell’s book, The Lydian Chromatic Concept of Tonal Organization, first published in, was the first theoretical contribution to come.

Author: Yozshulrajas Mazugor
Country: Mexico
Language: English (Spanish)
Genre: Video
Published (Last): 22 March 2006
Pages: 255
PDF File Size: 6.60 Mb
ePub File Size: 10.79 Mb
ISBN: 115-4-15037-347-1
Downloads: 82419
Price: Free* [*Free Regsitration Required]
Uploader: Shakataxe


Views Read Edit View history. As a full cooncept professional musician and music educator,there were deep things in music that I had grasped aurally but could not explain. As the player ventures further from the Lydian tonic however and further up the circle of fifthsthe tonal gravity shifts. Russell’s work postulates that all music is based on the tonal gravity of the Lydian mode.

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. What is the primary difference between the Lydian Chromatic Concept and all other theories of music? There are currently a small number of instructors in the United States, Europe and Japan who are formally certified by George Russell to teach the Concept.

It also gave rise to the “modal” jazz movement that enjoyed great popularity in the 70’s and 80’s for better and for worse.

The other music will be explained as the unfortunate byproducts of primitive non-prescription drugs that dumbed and numbed everyone else.

The Lydian Chromatic Concept of Tonal Organization

Music should teach spirituality by showing organizqtion person a portion of himself that convept would not discover otherwise…a part of yourself you never knew existed. Are there any historical and acoustical foundations underlying the Concept? Volume Two, the completion of the entire work, is currently in development. Retrieved from ” https: It is with pride and pleasure that we present this fourth and final edition.


George Russell’s Lydian Chromatic Concept of Tonal Organization

Using C as the Lydian Tonic yields the following note scale with enharmonic respellings: The hallmarks of the Russell era–or the Lydian Age, as it will no doubt be known–will be a return to musical depth and breadth, when contrapuntal thinking, lyrical adventurousness, rhythmic brilliance, and emotional richness will be part of our daily soundscape.

Concetp root note is C. The Art and Science of Tonal Gravity. George Russell’s Lydian chromatic concept of tonal organization. Unlike any other theory of music, Mr. As a full time professional musician and music beorge were deep things in music that I had grasped aurally but could not explain.

The more robust, comprehensive and detailed current volume adds never before published depth and dimension through exhaustive examples of analysis, scales, background information and test examples for the student. There are always new sounds to imagine, new feelings to get at Here are some of the most frequently asked questions about the Lydian Chromatic Concept. The answers given here are designed to demystify some of the common misconceptions about the Concept while supplying information as briefly as possible.

Therefore it is important to realize that you cannot assimilate these ideas from too narrow a basis, either intellectually or emotionally. Thus the Lydian Chromatic Scale and all its derivatives contain only Pythagorean intervals. Therefore, the essential difference between these two scales is that the Lydian a single tonic scale is in a state of unity with itself, and the Major Scale, with its two tonics, is in a state of resolving. Russell posited that tonal gravity emanates from the first seven tones of the Lydian mode.


What is the fundamental difference between the Lydian and Major Scale?

Russelll want to come back because everywhere you’ll want to be, George Russell’s music will be heard. Vertical, Horizontal, and Supra-Vertical. Russell’s theory has had far reaching effect especially in the realm of modal jazz. Students of this work are able to adapt their own musical perspectives to the ideas presented by the Lydian Chromatic Concept of Tonal Organization. Having finished this work, Russell is completing another volume on related elements which he has been pydian developing over the last several decades.

It must be understood that the answers here are short and to the point. Click here to visit www.

Much more detailed and comprehensive answers to all these questions and the issues they raise are only made available in the book itself, properly presenting the knowledge within the context of each chapter and lesson. By seeking what music ITSELF is telling us about its own elemental structure, The Concept supplies the necessary means to conceive that a gravitation field of tones exists as a self-organized order of unity.

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.