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There is no explicit explanation of that ACTIVE/PASSIVE/NEUTRAL chart that I have ever seen. I see.. was not Vol.2 on completion before GR passed away ? or it was not even drafted, far from being ever published ? funny thing though when you know the things are just there staring you in the face. IM...

hello Fernando, I don't know if this is what your looking for, or if it can help you; perhaps you already know it. still, there is a chart (very interesting) that deals with horizontal gravity, it is the ACTIVE/PASSIVE/NEUTRAL chart, inside 4th edition hardcover, at the very first page of the book, ...

great! do you feel that a synthetic scale ((9 tone, 10 tone, 11 tone) sound more outgoing than its corresponding lydian parent scale ? say the consonant nucleus (9 tone scale) next to a 'pure' lydian augmented ? ex. lydian aug with a P5 and +5 next to lyd aug without P5 ? now I feel that I should lo...

yes! thanks for your longer explanation Fernando, you are right and about the book too.
OK great!

arf :( ! ahah I guess I can understand but can you try to explain more? otherwise it only shows indeed you have your way of using the things of the concept but you don't really mean to explain it anyway, or at least try. I know it is hard to explain though and it takes some (very long) time to write...

say I have a lead sheet which I want to understand the chords harmonic motion (ie find the most ingoing parent scale of each chord), when I find a dim chord (diminished tetra chord), I have a symetric/ambiguous chord, which taken solely/vertically, can be considered at once for a PMG I chord (cf GR'...

Once I started to build voicings (and inversions) that were Root-less, I began to see (and hear) chords in a whole new way. Everytime I play a voicing now, that's all I'm concerned with: no matter what notes I'm playing in this voicing, how do I 'hear' it, and where does it fit in. If you write it ...

OK thank you for your answers!! the melody is not officially written yet, so anyone can take the challenge and write his own and make his choice over those 'ambiguous' chords/voicings. about chord notation I can't say that I'm totally aware of the consensus over chord notation so I can't always tell...

There is one really important thing that I found in the LCC when dealing with these situations (and voicings): When George talks about finding which scale contains the 'Prime Color' of a chord. Once you have established the location of a chord (the Primary Modal Genre of the chord), you then look a...

I agree but for 7#9#5 I would also say it is both +V and III matter of facts each of those chords can be ambiguous (see voicings) and seem to have several parent scale (they represent Alternate Modal Genres). now my problem is when I read GR, he says 7#5 are on the +V of lydian augmented as if he kn...

can someone have an LCC look on this progression and voicings I got ? Db11(b5) | B9(b5) | Db11(b5) | F maj7 D maj7 | B maj7 E7#9#5 | Db11(b5) | D-7 F-7 | Ab-7 B9(b5) | F maj7 D maj7 | F maj7 E7#9#5 | F maj7 D maj7 | F maj7 Eb maj7 | Db11(b5) | Db11(b5) || I've been pondering on the ambiguous chords ...

I agree too.

Hello everyone, I'm a young student of the LCC and the forum (2012), discovering the LCC as a music student has been really DEEP I want to thank everyone who contributed with edifying posts such as interval tonics, close to distant relations, tritones, polytonality, Bach, Horizontal gravity, orbits,...