Modal Harmony and Composition - The Chromatic Lydian Concept of Tonal Organization

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DISCUSSION ON IONIAN TONAL ORGANIZATION AND LYDIAN TONAL ORGANIZATION

The lydian scale must be placed at the center of the tonal system for one reason: because it is the bearer of the "pure major sound". The consequences of this are: a) The absence of the primary dominant cadence – tonic triad. The verticalization of harmony. The major scales that can be conceived as organizers of the tonal system are the ionian scale and the lydian scale. The ionian scale possesses two tonics. Example: in the C ionian scale, the two tonics are C and F, from which the C ionian scale and F lydian originate. Within the C-F interval, the tonic is F; therefore, in reality, the C ionian scale is a derivative of the F lydian scale. Consequently, the C ionian scale does not carry the "pure major sound" as it is a derivative of another major scale. The ionian scale carries the primary dominant cadence-tonic triad. For example: in C ionian we have the G VII-C ionian cadence because the F/B tritone resolves to C major. The lydian scale does not possess the primary dominant cadence-tonic triad; in fact, if we analyze the F lydian scale on the V degree, we find C ionian, which does not resolve to F lydian. The absence of the primary dominant cadence-tonic triad leads to a strong weakening of the tonal power of the tonic triad and of the centripetal force that causes all harmony to gravitate toward the tonic triad. The dorian/mixolydian/ionian modal sequence is nonetheless contained within the lydian scale; it is a VI/II/V, so the dominant on the II degree resolves on the V degree triad and not on the tonic triad. In this case too, the result is a strong weakening of the tonal power of the tonic triad. The ionian scale possesses two tonics, therefore the harmony that arises from it when placed at the center of tonal organization is a harmony delimited by its two tonics. The lydian scale possesses only one tonic and when such a scale is placed at the center of tonal organization, the resulting harmony is vertical because it is not delimited by another tonic. In lydian tonal organization, therefore, harmony is no longer subject to delimitations but can expand, assuming forms that are no longer obligatory as in ionian tonal organization, allowing the musician greater expressivity. In ionian tonal organization, notes foreign to the scale are absent notes, and when played they have a purely chromatic value, of embellishment, of color. In lydian tonal organization, notes foreign to the scale are existing notes, and when played they are structural and not simply passing notes. Bibliography: “Lydian Chromatic Concept of Tonal Organization” by George Russell Concept Publishing Company-Brookline, Massachusetts

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