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Hey Sandy, I can´t found this article. Can you put the link to access it?

Well, I want to ask to you if we can share here some of the scale alliances we have made wearing the LCC. I mean, the original alliances founded for us when everyone interact whit this concept. In my case, I try, when I am in the middle of a fast change of chords which I could not relate in the same...

I followed this amazing thread, and I feel that the key is to understand that the interpretation of a chord progression depends on our taste. One can choose to an horizontal scale (to sound in a moving to tonic taste, like a dinamic force), and in the other hand one can choose a vertical scale (to s...

Oh well, I see!! I try this kind of chords in my book under the name of "emergent chords". In that book I created scales not knowed (at least for me), and I isolated the chords builted in tertian order and at last the "emergent" ones (not in tertian order at all). Thank you Sandy.

I don´t understand what is the principle of the thirdless sound. What is thirdless? Someone can help me, please.

Well, the text says everything. Do you know what musicians keep using this concept in his art? (separately of the mentioned in the book, off course, I think in musicians of our time). This is very interesting to hear them and see in the manner they take the LCCOTO. Thanks,

I don´t know your knowledge, but I case you´re a not begginer in guitar I think that in few days you can try these fingerings in your instrument. It´s not so difficult try it, the hard work it´s to achieve good phrasing and to remember the changes between chords.

I hope this new volume brings a more recognition to Russell´s work who points the basis for the understanding of modern harmony, not only for jazz players.

I´m following this concept and the forum, I practice in several tunes with this concept, for me it´s really amazing, after 15 years it´s a new beggining to me, but I feel that a lot of people have a critic attitude. Why? What are the arguments that lead your reclaim? It´s only their refuse to ch...

I think Sandy was saying is what is your jazz scale practice book. If you have one jazz scale book this scales (Augmented, dimished, etc.) can be finded under another name.

Well, I see, this scale (1b234567) it´s a 12 tonal order scale because it have bII degree. Thank you for the explanation. I understand then that the presence of the fourth raised or not is only a way to say if this scale is vertical or horizontal approached.

I read the book again and I feel some doubts about this subject. If I want to create an official scale I need to put in the scale the root and the raised fourth to achieve the requirements? I´m very interested in this point, because I have worked in exotic scales in a book I writed a years ago, but...

I´m working with the tune Just Friends, and in bar 11 and 12 there is a progression Bm7-Em7. In the first chord I use the VI degree of D AD Scale and in Em7 the same scale because in the construction of the scale exists the notes of the chord (D-E- F-G- Ab-Bb-B-Db). Is this a SMG of the D LC Scale?...

Thanks Nate, I´m going to study it!!!

Hi all, I´m new in town, I´m from Argentina, South America. I reading the book and everything it´s really great for me but I don´t understand something about Secondary Modal Genre. In page 129 of 2001´s edition there is an example of the use of SMG made by John Coltrane over Thelonious Monk´s ...