Why E##?

Discussions on the theoretical basis of the LCC

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Why E##?

Postby ray3d » Fri Jun 20, 2008 5:45 pm

After years of studying the 1959 edition of the LCC, I have discovered this forum and purchased the latest edition.

Upon beginning my reading, the first surprise for me was the inclusion of the Lydian Dominant scale. As this is derived directly from the Natural overtone series, I thought that it had already been accounted for and considered to be the 2nd "mode" of the Lydian Augmented scale. Looking more closely, I can see that it merits its own place within the hierarchy produced by the Lydian Tonic when the flat 7th is introduced as the 10th note to join the LC scale.

Do I understand this correctly?

Now, I am confused as to why the 12th note of the LC scale starting on "F" should be "E##" instead of "G flat", (p. 14). Even the book refers to it as "II flat", and only lists "G flat" as the enharmonic equivalent in parenthesis.
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Postby bobappleton » Sat Jun 21, 2008 11:22 am

Hi Ray,

Welcome to the Forum. I'm not an LCC theorist either - I'm a professional designer and professor. It's amazing who the Forum attracts through a common love of music and invention. Your work and website is very interesting. My research is related - the expansion of visual vocabulary in relation to music and sound.

Motherlode is right that your question will be best answered by one of the resident LCC scholars, who are probably too modest to call themselves that - but there's a lot of different kinds of knowledge and experience represented here - in the name of George Russell. It's only fitting.


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