Editorial May 4, 1992 Issue

The power of unity

William E. Moody

In a recent television interview, jazz composer George Russell spoke of the central element in his theory of musical composition that inspires all his work. It is summed up in one word: unity. At the close of the discussion, when asked if he had any particular message that he'd like to pass along to young musicians, Mr. Russell replied, "Well, live, eat, sleep, drink, think unity—especially the unity between chord and scale" (One Norway Street, The Monitor Channel).

Doesn't that statement—and I feel sure Mr. Russell intended it this way—suggest an important lesson for life and not simply the focus for a gifted composer's musical work? In a world where so much division, misunderstanding, and prejudice continue to interfere with honest efforts to establish peace, and where strife and differing opinions would so often try to interrupt necessary progress, there is clearly a need for a deeper, more lasting unity of "chord and scale."

It's a powerful metaphor really—this "unity of chord and scale." In music the chord is basically a combination of tones sounded together, while the scale constitutes a series of tones sequentially arranged in an ascending or descending pattern. Because the scale represents movement and the chord an underlying structure providing tonal richness, depth, and harmony, the resulting music can really only "go anywhere," so to speak, in a way that uplifts or inspires both musician and listener, when there is discernible unity between these two fundamental elements—chord and scale. In music, this unity cannot be merely abstract; it must be applied practically and consistently, and with understanding.

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