![]() Note we go from B (+IV) to C# (+V), skipping the Gb (bII) which we append to the end of the series. So what he actually used was the following: F C G D A E B C# Ab Eb Bb Gb Russell seems to have tried using this order of notes as the basis of deriving further scales – more on this soon – but he presumably had mixed results because he decided to skip a 5th between the seventh and eighth tones of the Lydian Chromatic Scale. For example, the II in Lydian is G so the bII must be Gb, etc. The V in F Lydian is C so the +V must be C# (i.e. ![]() The reason for this mixing of flats and sharps is simple. The example above shows a single sharp note (C#) but also a number of flat notes. Hence ‘chromatic’ in the Lydian Chromatic Concept perhaps?Īnyway, when we complete this ‘stacking’ we end up with an additional 5 notes on top of the Lydian scale to form the “Lydian Chromatic Scale”: F C G D A E B Gb C# Ab Eb Bb Well, we continue to move around the cycle of 5ths and eventually use all available 12 tones to end up with the chromatic scale. Russell seems to have asked the question, “what happens if we continue adding 5ths and extend beyond an octave?” The Lydian Chromatic Order of Tonal Gravity You probably won’t be surprised to find that the Lydian Scale is the first of the Seven Principle Scales. Remember that the last note is an augmented 4th (notated as +IV) as opposed to the perfect 4th of the major scale. Of course, in practical usage you’d rearrange them in note order to form a scale. Actually, this order is significant to Russell, as we’ll see later. The notes are listed in the order they appear as you stack fifths. Here’s the example of F Lydian created by stacking 5ths from the root note, F. Recall that we derive the Lydian scale by stacking 6 intervals of a 5th on top of each other. The order in which they appear is also significant because “their order reflects the sequence of derivation from the fundamental tonal order of the Lydian Chromatic Concept”. They are closely aligned to the Lydian scale in the sense that they all contain the augmented fourth (+IV). I think it is significant that these scales come first in the theory. ![]() They exist as the PRIMARY PARENT SCALES for all traditionally definable chords of Western Harmony. The Seven Principle Scales… are the Principle Chord-Producing Scales of the LYDIAN CHROMATIC SCALE. There are actually eleven member scales in total (there are also Four Horizontal Scales) with the Seven Principle Scales being “chord parenting”. In this part in this series we are going to look at the Seven Principle Scales of George Russell’s “Lydian Chromatic Concept of Tonal Organization”.
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