lcc in chinese - a start

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

lcc in chinese - a start

Postby bobappleton » Sat Jul 14, 2007 10:21 am

today we translated the first example of the C lydian versus the C major scales into chinese.

b
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Postby johnlynch4492 » Tue Jul 17, 2007 10:32 am

That is interesting, I don't know the extent to which Chinese culture has been subject to Western influence (when I landed in Paris about 10 years ago and started flipping the radio dial around, I heard Louis Armstrong, Otis Redding, Rod Stewart before I found anything sung in French) but it would seem that the Concept would or could be a somewhat universal path to freedom from polarized notions of conformity to pre-existent practices and the alternative of "wrong" . . . I suspect that the musical tastes of many people involve an element of "what it isn't" [I like it because there are no screaming guitars or because there are no bagpipes or because there are no clarinets) or nostalgia or rebellion against nostalgia, whether this is or isn't your grandfather's music while music itself is not necessarily superglued to conventions or rejection of conventions . . . I myself am re-exploring the Concept and really a neophyte yet it seems to me to involve freedom without being value-laden . . . and not about whether you start out used to driving on the right side of the road or used to driving on the left side of the road . . . whichever side of the road you are used to driving on, I see the Concept as a useful way of broadening awareness and expression and deepening appreciation . . . it will be interesting to see how it is received and applied
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Postby bobappleton » Thu Jul 19, 2007 7:15 am

I just got back from Beijing. And now we're moving again. So change is in the air.

You do hear the same blues-based sounds from popular radio as you might in Europe, but they mostly have a Chinese accent. I would go to Starbucks for Jazz - not really, but it's about the only place I ever heard "the real thing" (Kind of Blue IS the Star Spangled Banner - one motif and you know it).

In my Design is Music workshop I used the amen from So What as a key to understanding change (all from GR's original Mississippi River diagram) - Wade in the Water to Moanin', to So What by Miles, then by George Russell. The not-so-gradual disappearance of the blues beat and the amen (among other things) tell us we're in the postmodern world.

I think change in China is fast, but also slow. Everything exists all at the same time: Punk Rock is hot. A vocalized jews harp in Mongolian folk music made me wonder if it pre-dates the instrument (and it probably does). I got close to some Classical Chinese music with its continuous turns and changes of mood. Those swooping notes in infinite harmonic ranges from loud to imperceptible are very moving. On the street (under highway bridges, anywhere) I loved the brash trumpet and saxophone sounds - crashing as Chinese cymbals - and all improvised.

I'd say the LCC would jump into this Chinese soup and boil happily with all the other ingredients.

Bob
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