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Russell builds a prototype chromatic scale starting on the Lydian Tonic by stacking fifths, skipping the interval between the seventh and eighth tones, and placing the skipped tone at the end for having the lowest level of tonal gravity. Using C as the Lydian Tonic yields the following 12-note scale
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Russell, George (2001) . "Chapter II The Lydian
Chromatic Scale: Its Eleven Member Scales and Five Tonal Orders". George Russell's Lydian chromatic concept of tonal organization. Volume One: The art and science of tonal gravity (Fourth (Second printing, corrected, 2008) ed.). Brookline,
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Russell posited that tonal gravity emanates 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 (e.g.
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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
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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
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described it as "the first work deriving a theory of jazz harmony from the immanent laws of jazz" and as "the pathbreaker for
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Olive Jones and George
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371:. John Coltrane's modal jazz is usually analyzed using Russell's method. In arguably his most famous piece, "
375:," Coltrane can be heard traveling through a succession of three parent Lydian Chromatic scales: C Lydian, A
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Aural
Archetypes and Cyclic Perspectives in the Work of John Coltrane and Ancient Chinese Music Theory
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Lydian, and E Lydian. Additionally, many conservatories teach
Russell's theory to varying degrees.
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659:(2001) . "Chapter 1 The Lydian scale: The seminal source of the principal of tonal gravity".
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Frequently Asked
Questions about George Russell’s Lydian Chromatic Concept Of Tonal Organization
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The Lydian
Chromatic Concept of Tonal Organization: The Art and Science of Tonal Gravity
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starting with C, the desired Lydian Tonic. This process would yield C, G, D, A, E, B, F
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Russell's theory has had far-reaching effect especially in the realm of modal jazz.
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said that it "opens the door to countless means of melodic expression" and critic
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In the Course of
Performance: Studies in the World of Musical Improvisation
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Russell (1964), p.4-5. Cited in Bruno Nettl, Melinda
Russell; eds. (1998).
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and Miles Davis used the theory to record modal jazz such as the album
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George
Russell's Lydian chromatic concept of tonal organization
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Massachusetts: Concept Publishing Company. pp. 10–17.
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3) are used, the tonal gravity is probably shifting.
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George Russell Sextet Live in Breman and Paris 1964
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16:1953 jazz music theory book by George Russell
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258:respellings: C, G, D, A, E, B, F
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