Kritische Anmerkungen zum
"Lydian Chromatic Concept"
In this article the effectiveness of contemporary functional harmony is compared with that of the "Lydian Chromatic Concept". Russell's contribution to developments in the melodic area of jazz, for example in the provision of Lydian scales for the tonic function, should not be underestimated. Criticism, however, must be made concerning the unnecessary confusion and inadequate representation in his book. Primarily, Russell's claim should be discussed that he has created something totally new with his concept, something that exists outside of functional harmony, and that everything previously created in music, as well as still to be created, can be better explained with it.
Right at the outset of his theory, the "Lydian principle", the reason for the Lydian scale's dominance is not substantiated. Opposed to the usual major scale, which provides for a dynamic situation in both directions of the circle of fifths, the Indian scale, due to its more static character, has only an advantage in music not based on chord progressions, for example in the longer lingering harmonies of modal jazz.
Especially the scales' formation shows grave deficiencies, through unbalance and inconsistency of the available scale materials and through arbitrary use of non-Lydian scales. The same can be found in Russell's chord categories, in which no unified reference scale is recognizable. Moreover, superfluous chord repetitions appear in the fundamental construction, since a number of chords is missing.
If one compares chord progressions as analysed from the functional harmonic system with the Lydian interpretation, Russell's concept reveals itself as insufficient. Through his disputable use of "Lydian Tonics", which are necessary for the selection of the Lydian scales (a complicated procedure), the relationship between chord and melodic tone material is lost. Finally, Russell did not find any scales which could not have been produced within a consequently further developed major-minor system. The relationship of Russell's concept with major-minor tonality is actually so obvious that one cannot speak of a new independent system with a solid modern base. lt can only be considered as a reinterpretation of an already existing section of the Western tonality system.