beijing, spam and the lost forum
Posted: Wed Jan 10, 2007 7:40 am
beijing:
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.
spam:
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.
bob
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.
spam:
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.
bob