Lydian Chromatic Concept of Tonal Organization
 | 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] and used it to record modal jazz, such as the album Kind of Blue. Additionally, many conservatories teach Russell's theory to varying degrees.[5][4]
External Links
George Russell's Lydian Chromatic Concept of Tonal Organization, in depth fan website