THE LYDIAN CHROMATIC CONCEPT OF TONAL ORGANIZATION PDF

What is the aim of the Lydian Chromatic Concept? What is the primary difference between the Lydian Chromatic Concept and all other theories of music? What is Tonal Gravity? Why is the Lydian Scale of paramount importance in this Concept?

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What is the aim of the Lydian Chromatic Concept? What is the primary difference between the Lydian Chromatic Concept and all other theories of music? What is Tonal Gravity? Why is the Lydian Scale of paramount importance in this Concept? What is the fundamental difference between the Lydian and Major Scale? What is a Lydian Chromatic Scale? Are there any historical and acoustical foundations underlying the Concept? Who can most benefit by studying the Lydian Chromatic Concept?

Is the current revised edition dramatically different from the previous editions? What are the extra-musical considerations of the Lydian Chromatic Concept? Are there any connections drawn in The Concept between music and psychology? Has the Lydian Chromatic Concept been taught at any established educational institutions? It has existed in a state of continual evolution since the early s. The principal aim of The Concept is to grasp the behavior of all musical activity i.

Its purpose is to provide a road map of the musical universe that tells you where all the roads are, but does not tell you which roads to take. Unlike any other theory of music, Mr. 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 Concept does not disprove the discoveries and contributions of other musical theories, but rather explains where their truths rest in the context of tonal gravity.

Tonal gravity is the heart of the Lydian Chromatic Concept. Simply put, the basic building block of tonal gravity is the interval of the perfect fifth. There are 3 states of tonal gravity: Vertical, Horizontal, and Supra-Vertical.

The Lydian Scale was not chosen as the primary scale for this system of music theory because it sounds nice or has some subjective or historical significance. 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.

When seven ascending consecutive fifths i. The Major Scale is known as a diatonic meaning: two tonic scale. 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. 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.

The recently published edition of the Concept goes into great depth and discussion concerning the historical and acoustical foundations underlying the Concept. These ideas are critical to understanding the significance of this theory, and are too involved and elaborate to post on this website. It should be noted that the current book presents these specific subjects far more extensively than in previous editions.

One of the beauties of The Concept is that it is designed for musicians and non-musicians alike. Its contribution is relevant in all stylistic genres of music and from all time periods. It even extends beyond Western music to some ancient forms of non-Western music. Most students of The Concept tend to be composers, improvisers, and people interested in the analysis of already existing musical compositions.

Many people outside of music are drawn to The Concept due to its objective view of tonal gravity. Does a student of the Concept have to abandon their already existing knowledge of Western music theory? Students of this work are able to adapt their own musical perspectives to the ideas presented by the Lydian Chromatic Concept of Tonal Organization. For example, analysis of compositions by J. Bach and Maurice Ravel are included in the current volume to reinforce the all-inclusive nature of tonal gravity.

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.

Volume Two, the completion of the entire work, is currently in development. No art form or theory is complete without some basis in psychology and spirituality. Artists most often describe the process of creativity in transparent and intangible terms. Most - if not all - music theoretical systems have chosen to ignore the inclusion of this key internal element.

While Mr. He has given seminars in this work around the world and has personally guided countless private students. The previously released versions of the book have been used to teach the LCCOTO at colleges and universities around the world over the last 40 years. 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.

To find out more about George Russell, click on this link to www. These past 6 months have been both enlightening and enriching. As a full time professional musician and music educator,there were deep things in music that I had grasped aurally but could not explain.

These things are now crystal clear. Through the Concept the law of gravity is apparent. I was pulled towards the Concept, and through patience and research ended up discovering Andy. I would like to thank Maestro Russell, whose genius and perseverance created this tonal wonderland.

The Concept is heard in music all around us. The information in the latest edition is truly priceless! I want to come back because everywhere you'll want to be, George Russell's music will be heard.

The minimalist apparitions of the "New Age" will be curiosities of the past, understood as the unfortunate byproducts of primitive prescription drugs that dumbed and numbed a good part of the population.

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

It'll be great. Be there! Scott-Martin Kosofsky. 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 beginning to end, or you can click on a specific question and link to its answer.

The answers given here are designed to demystify some of the common misconceptions about the Concept while supplying information as briefly as possible. It must be understood that the answers here are short and to the point.

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.

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The Lydian Chromatic Concept of Tonal Organization

George Russell's book, The Lydian Chromatic Concept of Tonal Organization , first published in , was the first theoretical contribution to come from jazz, and was responsible for introducing modal improvisation which resulted in the seminal recording of Miles Davis' "Kind of Blue. 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. Radical as it may be, the theory is more than one person's eccentricity, having considerable precedent in the work of Ravel, Scriabin, Debussy and in some of the learned works of Bach. The word "Lydian" is here derived from one of the classical Greek scale modes. 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. For searchers like Miles and Coltrane and Bill Evans, and many in the generations that followed them, Russell's theory provided a harmonic background and a path for further exploration. 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.

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Lydian Chromatic Concept Of Tonal Organization For Improvisation

Russell's work postulates that all music is based on the tonal gravity of the Lydian mode. 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 Lydian Tonic.

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