Recently, during a lesson with Andy, we delved into the fascinating world of “official scales.” But what exactly is an official scale? In simple terms, it’s a scale that you can consciously create by understanding the Lydian tonic it’s based on, as well as the specific tonal order and level it represents within the Lydian Chromatic Concept. Essentially, it’s a custom combination of the principle scales in George Russell’s concept, where you can add or omit notes as you see fit.

The idea of creating a unique scale is both exciting and liberating! Is it really possible to come up with something truly original in a musical world with so many established scales? According to George Russell, it absolutely is—as long as you’re attuned to the Lydian tonic and aware of each tone’s relationship to it, from closest to most distant. 

Within the Lydian Chromatic Concept, there are seven principal vertical scales and four horizontal scales. Think of the vertical scales as “prime scales” or even “prime colors”—they represent the essential vertical sound of each tonal order: 7, 9, 10, 11, and 12. As you become more familiar with the unique character of each tonal order, you’re encouraged to experiment, combining both vertical and horizontal scales in new ways to create entirely original scales. The possibilities are endless; the only boundaries are those set by your imagination and your ears.

I’ve been experimenting with well-known scales that, in the framework of Russell’s concept, qualify as “official scales.” One of my favorites is the Hungarian Minor, a scale with a hauntingly distinctive sound. Within the Lydian Chromatic Concept, the Hungarian Minor could be seen as a variation of the Lydian Diminished scale, where the sixth degree is replaced with an augmented fifth. For example, a C Hungarian Minor scale in this view would be based on a Lydian tonic of C, with these notes: C – D – Eb – F# – G – G# – B.

Exploring a scale like this through the Lydian lens offers a powerful new perspective, revealing how the Lydian tonic can transform and enrich a familiar sound by opening up its possibilities within the full Lydian chromatic framework.

So, the other day, I may have actually created my very own official scale! To confirm if it’s truly unique, I’ll need to check for similarities in established scale theory, but for now, I think I might be onto something new. I’m keeping it under wraps for now, but I can tell you that it has a beautiful, somewhat dark character—a quality that makes sense, given that it’s built on the 10-tone order.

I’m thrilled to keep exploring this scale, improvising with it, and eventually composing with it. The possibilities feel limitless, and I can’t wait to see where it takes me!