Tertian order of the LCS?

The main body of the LCC and its practical application, including all 4 published versions of Book 1 with their inserts: the 1959 tan cover; the 1959 light green cover Japanese edition; the 1970‘s white cover, which adds an illustrated River Trip to the 1959 edition, and the currently available Fourth Edition, 2001.

The authorization code is the first word on Page 198 of the Fourth Edition of the LCCTO.

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An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice

Postby guitarjazz » Sun May 01, 2011 9:25 pm

That's an interesting observation.
I remember the super-arpeggio from the old Larry Carlton video. I like your twist on it. Mmm more things to chew on!
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Postby chespernevins » Mon May 02, 2011 10:17 am

If we extend that symmetrical pattern above A and keep going until we've introduced the remaining 5 tones of the chromatic scale we get:
C E G B D F# A C# E G# B D# F# A# C# E#
Notice how each new note after A yields a new tone and then yields a tone already in the series in a regularly alternating pattern.

The order that the new tones are introduced in is bII +V bIII bVII and IV which is the same order that new notes would be introduced if we extended the ladder of P5ths starting on C above F#.

Yes, this is cool.

Can't this be seen as a variation on the cycle of fifths? Go up 4 5ths, down 3 5ths, repeat.

Therefore it by definition starts with the Lydian scale notes (all 5ths) and has a resemblance to the extended ladder of fifths as it gets past the first 7 tones.

Going up 4 fifths and then back 3 5ths each time explains why new notes are introduced but then old notes are repeated.

To tie this in to the LCC, the distinction George Russell made was to decide where to stop around the cycle of fifths in order to preserve a single key area and a tonic.

As you referenced in your first post, he stopped at F# because the next note, Db, flipped the ladder and became the tonic of the C-Db interval (through the rational of the ladder of fifths).
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