beijing, spam and the lost forum

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

beijing, spam and the lost forum

Postby bobappleton » Wed Jan 10, 2007 7:40 am

on a scale of 1 to 12, beijing gets a 1 for available teachers of the lcc, and a 12 for the fact that there is no major scale in chinese music - perhaps because it was not created for the piano.

before i left in october i made a suggestion on the "music players" "keyboard corner" forum - that they visit the lcc site. it had been so quiet, in a musical sense, since we lost all the old forum material and contributors, that i thought some new blood might help. i'm very sorry if the unintended consequence was junkmail from idiots (i removed the link
from there).

and the lost forum:
the original forum, while not any kind of substitute for the book itself had a lot, i mean a lot, of interesting commentary, insights and personal study information about the lcc that you could only get from serious musicians and users of the concept like sandy williams, nate comp and schell barkley.

so i'd like to suggest a new years effort to ask (and answer) a few new questions about the lydian chromatic concept of tonal organization and why it's a still as radical today as it was in the 50's when it was first released.

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