Russell's "Lydian Chromatic Concept of Tonal Organization" re-conceptualized the matching of scales with chords. While the conventional approach to the diatonic major scale is founded on the tones of the "Ionian" major scale in accordance with classical theory (C, D, E, F, G, A, B for the C major scale, etc.) the LCC derives the scales based on the series of fifths stacked from the root tones of chords with a major third. In the key of C, the stacked fifth series includes C, G, D, A, E, B, and F, which provide an alternate seven tone division for the C major scale with a raised, or "augmented", fourth tone. The resulting scale, with an augmented fourth (F) instead of a perfect fourth (F), has more consonance than the conventional "Ionian" diatonic major scale over chords, avoiding the dissonant half-step from the major third (E). With the conventional major scale, dissonance is avoided by omitting the perfect fourth; by using the "Lydian" mode with the more consonant augmented fourth, the player or composer gains the tonal freedom that facilitates modal playing over chords with a major third. Lydian major-third chords are specified with a 11, which is equivalent to the 4 in the scale.