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Lydian mode on C Play ⓘ. Thirteenth chord constructed from notes of the Lydian mode. Play ⓘ Russell's original six Lydian scales [1] The Lydian Chromatic Concept of Tonal Organization is a 1953 jazz music theory book written by George Russell. The book is the founding text of the Lydian Chromatic Concept (LCC), or Lydian Chromatic Theory (LCT).
The Lydian scale can be described as a major scale with the fourth scale degree raised a semitone, making it an augmented fourth above the tonic; e.g., an F-major scale with a B ♮ rather than B ♭. That is, the Lydian mode has the following formula:
George Allen Russell (June 23, 1923 – July 27, 2009) was an American jazz pianist, composer, arranger and theorist. He is considered one of the first jazz musicians to contribute to general music theory with a theory of harmony based on jazz rather than European music, in his book Lydian Chromatic Concept of Tonal Organization (1953).
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
Jazz chords are chords, chord voicings and chord symbols that jazz musicians commonly use in composition, improvisation, and harmony. In jazz chords and theory, most triads that appear in lead sheets or fake books can have sevenths added to them, using the performer's discretion and ear. [ 1 ]
The dominant 7 ♯ 11 or Lydian dominant (C 7 ♯ 11) comprises the notes: . r, 3, (5), ♭ 7, (9), ♯ 11, (13) (Note that in jazz lead sheet notation, upper extensions (intervals beyond the 7th) aren't named unless they are altered; alternatively, when including the 9th and 13th this chord could be called a C 13 ♯ 11.)
The tritone substitution is a common chord substitution found in both jazz and classical music. Where jazz is concerned, it was the precursor to more complex substitution patterns like Coltrane changes. Tritone substitutions are sometimes used in improvisation—often to create tension during a solo.
"Un Poco Loco" is in thirty-two bar form. [4] It uses the lydian scale, incorporating chords overlapping chords to imply a polytonality (D major 7 over C major 7: CEGBDF#AC#) with the improvisation based on an alternating polytonality and an altered dominant chord.