George Russell's Lydian chromatic concept of tonal organization. "Chapter II The Lydian Chromatic Scale: Its Eleven Member Scales and Five Tonal Orders". Note: gray text on gray background (select text or copy and paste to make legible).
^ " Lydian Chromatic Concept of Tonal Organization",. ^ Olive Jones and George Russell, The Black Perspective in Music, Vol. In the Course of Performance: Studies in the World of Musical Improvisation, p.153. Cited in Bruno Nettl, Melinda Russell eds. Additionally, many conservatories teach Russell's theory to varying degrees. In arguably his most famous piece, " Giant Steps," Coltrane can be heard traveling through a succession of three parent Lydian Chromatic scales: C Lydian, A ♭ Lydian, and E Lydian. John Coltrane's modal jazz is usually analyzed using Russell's method. Bill Evans and Miles Davis used the theory to record modal jazz such as the album Kind of Blue. Art Farmer said that it "opens the door to countless means of melodic expression" and critic Joachim-Ernst Berendt described it as "the first work deriving a theory of jazz harmony from the immanent laws of jazz" and as "the pathbreaker for Miles Davis' and John Coltrane's 'modality'". Russell's theory has had far-reaching effect especially in the realm of modal jazz. ♯2/ ♭3) are used, the tonal gravity is probably shifting. For example, if notes further up the circle of fifths (e.g. As the player ventures further from the Lydian tonic however (and further up the circle of fifths), the tonal gravity shifts. Russell posited that tonal gravity emanates from the first seven tones of the Lydian mode. Thus the Lydian Chromatic Scale and all its derivatives contain only Pythagorean intervals. Using C as the Lydian Tonic yields the following 12-note scale with enharmonic respellings: C, G, D, A, E, B, F ♯, G ♯, E ♭ (D ♯), B ♭ (A ♯), F (E ♯), D ♭ (C ♯). 
Russell builds a prototype chromatic scale starting on the Lydian Tonic by stacking fifths, skipping the interval between the seventh and eighth tones, and placing the skipped tone at the end for having the lowest level of tonal gravity.
Additionally, Russell observed, when these tones are voiced in thirds they form the preferred form of a major 13 (#11) chord. If these tones are voiced in the space of an octave, they form the Lydian mode (C, D, E, F ♯, G, A, B).
This process would yield C, G, D, A, E, B, F ♯. For instance, to construct a C Lydian scale one could list the first seven tones on the circle of fifths starting with C, the desired Lydian Tonic. Russell focuses on the Lydian mode because it can be built with fifths. Russell believed that dominant function was the driving force behind all harmonic motion.
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