Lydian Chromatic Concept of Tonal Organization
from page 155
BAR ONE, beats 1-3.
The first part of bar 1 features an inverted G VI (Eminmaj7 /G Lyd aug) chord supporting a three-note melodic fragment containing the tone A#.
In just these first three beats of bar 1, Ravel establishes his underlying harmonic intent as being, LC Concept terms, the establishment of a series of prevailing chordmode/parent LC Scale alliances on the Level of Vertical Tonal Gravity.
In each of these VTG alliances the nine-tone order of the prevailing LC Scale is exploited harmonically and/or melodically.
Ravel's vertical consciousness in the Forlane is focused on combining the eighth and ninth tones of the nine-tone order of a LC Scale to counterbalance the Lydian Augmented and Lydian Diminished sounds which these tones respectively represent in each of a series of VTG alliances.
BAR ONE, beats 4-6 to BAR TWO, beats 1-3.
In the second half of bar 1, Ravel sounds an inverted C augmented major triad in the bass clef to accompany the melody's D#, again combining the eighth and ninth (augmented and diminished) tones of the C CL Scale's nine-tone order.
This is completely realized in the first half of bar 2 when the interval of a fifth (A to E), sounding in the bass clef under the tones held over from bar 1, creates an A minmaj7 chord.