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.

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"The Concept is, as always, the framework for my music. I feel because of it, my music still appears to be just getting better."
Bruce Cale