lydianchromaticconcept.com

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yep

very cool, thanks again for doing this, i'm sure it helped more people than just me

many people are wondering the same thing, since GR has passed i think it will be a long time if ever

Step #5: In my chord analysis, the flute notes were included (this time) because the notes were so far inside that they were of little consequence. If the flute notes had been predominately outside, it would have required a different approach. We want to know the distance of the lead voice (flute) ...

can the LCC be used to understand music that relies on quarter tones?

http://www.youtube.com/watch?v=TOSg56z1s2M

this is an honest question

We are in agreement on the points you mentioned. Where am I going? The interest is in compositionally creating an interesting environment on which to improvise. I'm basically thinking about "what happens when you put the LCC, Hindemith, and set theory in a bag and shake it?" I was thinkin...

Ran Blake, one of the greatest jazz/third stream pianists has completed a George Russell tribute album with Noir versions of his music, Ran plays the electric piano on a few of them too which is cool. Anybody excited?

I'm starting to get confused so please forgive me if I'm a little off... If the LCC is not for creating chord progressions (as sandywilliams said) but for chord-scale unity, then could you determine the chord progression using the theories of traditional harmony? Or, use another theory for the chord...