(Original posted on October 22, 1999)
Exploring systematic music theories offers composers a distinct advantage: it provides a coordinate system—a ruler of sorts—against which to measure musical images during the composition process. Conversely, one could say that a systematic music theory (of the compositional method type) is essentially the crystallization of the tendencies found in its creator’s musical imagination, elevated into a formal system.
However, when approaching George Russell’s The Lydian Chromatic Concept, I believe readers need to shift their mindset. This is because the book possesses the nature of an “enlightenment” text, rather than merely serving as a theoretical manual.
If you attempt to create concrete music solely by reading this book, you will likely find it extremely difficult. While it certainly presents a closed system of laws, the sound world derived from them is overwhelmingly free. Just as a method is proposed, subsequent explanations often add enough flexibility to effectively neutralize that very method. As you read on, you may find yourself overwhelmed by this sheer freedom.
Viewed somewhat critically, it seems as though the text is trying to theoretically prove that “it is permissible to use all 12 tones of equal temperament freely.” However, for a composer, the issue is rarely whether one can use all 12 tones, but rather how to use them to create something musically beautiful (or distinctive). The permission to do so is trivial; the question is not “can I?” but “how should I?”
Herein lies the glimpse of its nature as an enlightenment text. Encouraged by the implicit message—”Here is a concept, now go be free”—the jazz world birthed a variety of music. This is arguably the result of successful enlightenment. Notably, it laid the groundwork for the concept of “Modes” to emerge. As some prominent figures have remarked, “Everyone who uses modes owes a debt to Russell.”
As the title implies, the author intends to present a “Concept” rather than a rigid system. Starting from the Lydian scale, grounded in the natural overtone series, Russell presents a set of possibilities for musical materials. He analyzes existing compositions based on this set, emphasizing that all music within equal temperament falls under the scope of this concept.
As an analytical method, it is incredibly flexible. However, when trying to birth specific works from this concept, one often hits a wall. I suspect the remote cause is that the originator’s own “musical image” is difficult to hear within the concept itself.
With twelve-tone technique or modal theory, one can sense a historical accumulation of actual works or the directional pull of a specific musical image. In other words, those theories attempt to systematize a musical image that the originator could clearly hear and feel. Consequently, others touching that theory can use that musical image as a coordinate system to propel new musical creation.
The Lydian Chromatic Concept, however, shows less of this “systematization of a musical image” and instead exerts an intensity that seeks to engulf all music of the equal-tempered world. The flexibility of its analysis refers to this very characteristic.
If so, one should utilize its excellence as an analytical tool. Concepts like “Tonal Gravity” and “Tonic Station” can be immediately fed back into musical thinking. You will undoubtedly gain a new perspective on music. Thus, the primary benefit of engaging with the Lydian Chromatic Concept seems to be less about touching a new musical image, and more about acquiring a new musical viewpoint.
Finally, I must explicitly state that the writings of Motohiko Hamase played a significant role in bringing my long-held questions and critical awareness regarding this book to the surface.
Title (Japanese) :『リディアン・クロマティック・コンセプト』
Author : ジョージ ラッセル (著)
ISBN : 475493072X
