Lydian Chromatic Concept of Tonal Organization: Difference between revisions
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==Impact== |
==Impact== |
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Russell's theory has had far reaching impact, especially in the realm of modal jazz. [[Bill Evans]] and [[Miles Davis]] utilized the theory<ref name="Impact of LCC">[http://www.lydianchromaticconcept.com/review_dragoon.html]</ref> and used it to record modal jazz, such as the album [[Kind of Blue|''Kind of Blue'']]. John Coltrane's modal jazz is usually analyzed using Russell's method.<ref name="Modal Trane">[http://www.jstor.org/stable/3181594]Aural Archetypes and Cyclic Perspectives in the Work of John Coltrane and Ancient Chinese Music Theory |
Russell's theory has had far reaching impact, especially in the realm of modal jazz. [[Bill Evans]] and [[Miles Davis]] utilized the theory<ref name="Impact of LCC">[http://www.lydianchromaticconcept.com/review_dragoon.html]</ref> and used it to record modal jazz, such as the album [[Kind of Blue|''Kind of Blue'']]. John Coltrane's modal jazz is usually analyzed using Russell's method.<ref name="Modal Trane">[http://www.jstor.org/stable/3181594]Aural Archetypes and Cyclic Perspectives in the Work of John Coltrane and Ancient Chinese Music Theory |
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Hafez Modirzadeh Vol. 21, No. 1 (Spring, 2001), pp. 75-106; Published by: Center for Black Music Research - Columbia College Chicago and University of Illinois Press, p.80</ref> Additionally, many conservatories teach Russell's theory to varying degrees.<ref name="Teaching LCC">[http://www.lydianchromaticconcept.com/faq.html#14]</ref><ref name="Impact of LCC">[http://www.jstor.org/stable/1214151], p.65.</ref> |
Hafez Modirzadeh Vol. 21, No. 1 (Spring, 2001), pp. 75-106; Published by: Center for Black Music Research - Columbia College Chicago and University of Illinois Press, p.80</ref> Additionally, many conservatories teach Russell's theory to varying degrees.<ref name="Teaching LCC">[http://www.lydianchromaticconcept.com/faq.html#14]</ref><ref name="Impact of LCC">[http://www.jstor.org/stable/1214151], p.65.</ref> |
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Revision as of 17:04, 8 April 2011
 | This article possibly contains original research. (April 2011) |
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The Lydian Chromatic Concept of Tonal Organization was written by George Russell and is the founding text of the Lydian Chromatic Concept (LCC), or Lydian Chromatic Theory (LCT). The work postulates that all music is based on the tonal gravity of the lydian mode.
Deriving Lydian
Russell believed that dominant function was the driving force behind all harmonic motion. Russell focuses on the lydian mode because it can be built with fifths. 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 tonic. This process would yield C, G, D, A, E, B, F#. If these tones are voiced in the space of an octave, they form the lydian mode (C, D, E, F#, G, A, B).[1] Additionally, Russell observed, when these tones are voiced in thirds they form the preferred form of a 13th chord.[2]
Tonal Gravity
Russell posits that tonal gravity emanated from the first seven tones of the lydian mode. As the player ventures further from the lydian tonic however (and further up the circle of fifths), the tonal gravity shifts. For example, if notes further up the circle of fifths (eg b3) are used, the tonal gravity is probably shifting.[3]
Impact
Russell's theory has had far reaching impact, especially in the realm of modal jazz. Bill Evans and Miles Davis utilized the theory[4][5] and used it to record modal jazz, such as the album Kind of Blue. John Coltrane's modal jazz is usually analyzed using Russell's method.[6] Additionally, many conservatories teach Russell's theory to varying degrees.[7][5]
External Links
George Russell's Lydian Chromatic Concept of Tonal Organization, in depth fan website
References
- ^ [1] Olive Jones and George Russell, The Black Perspective in Music, Vol. 2, No. 1 (Spring, 1974), pp. 63-74 , p.65.
- ^ [2]
- ^ [3]
- ^ [4], video by WGBH about Russell's life and his impact on jazz.
- ^ a b [5] Cite error: The named reference "Impact of LCC" was defined multiple times with different content (see the help page).
- ^ [6]Aural Archetypes and Cyclic Perspectives in the Work of John Coltrane and Ancient Chinese Music Theory Hafez Modirzadeh Vol. 21, No. 1 (Spring, 2001), pp. 75-106; Published by: Center for Black Music Research - Columbia College Chicago and University of Illinois Press, p.80
- ^ [7]