12 notes, moving in minor 2nds through an octave. Of course, a Lydian chromatic scale is nothing more than a chromatic scale. The remainder of the title is …… OF A LYDIAN CHROMATIC SCALE. Here, then is a complete chart of tonal gravity.īut the rest of the title tells us something just as important, even if it seems obvious. That is the raison d’etre for the book and the entire LCCTO. That is a big loss, in my opinion, and here is why. And missing from those editions is THE TONAL GRAVITY CHART OF A LYDIAN CHROMATIC SCALE. The later editions, including the current one, are so different as to be a completely different book. Later editions of the book are completely different than the early editions. The chart is rarely mentioned in the text of the early editions. (Note: a copy of the chart can be found on the Lydian Chromatic Concept page on Facebook. It was called THE TONAL GRAVITY CHART OF A LYDIAN CHROMATIC SCALE. The early editions of the LCCTO book included an insert, in a pocket at the back of the book, not bound into the book but placed loosely in a pocket. The point is that when I discovered the map at the heart of the LCCTO, light was shed on many, many things that were hidden before. I also believe that George Russell himself is somewhat responsible for the fact that so many people have the sense that the LCCTO is a system, because Russell presents his Concept in that way, in my opinion.īut the point is not to debate this issue. I am fairly certain that looking at the LCCTO as a system is at the root of much of the despair I’ve seen in musicians trying to “deal with” the LCCTO. Second and just as important, the LCCTO is NOT a system.
As with any map, it is most useful when you know where you want to go.
LYDIAN CHROMATIC CONCEPT SERIES
This series of articles is about those insights and about what the LCCTO is and what it is not, and about how I have utilized it to help me to create the music I wanted to create.įirst and foremost, the LCCTO is a map. I have some hard-earned insights into what seemed to be a complex subject when I began. I was immediately taken by it and have worked with it ever since, sometimes more than at other times, but continuously for over 40 years now. In 1976, I purchased one of the early editions of George Russell’s famous (some might say infamous) book about tonal gravity. I’ve devoted a lot of time to finding my way into it. It is also one of the most needlessly confusing books ever written. The Lydian Chromatic Concept of Tonal Organization is one of the most important books about the musical universe.
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