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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Postby Bob » Sun Sep 23, 2007 9:35 pm

Like the melodic minor up > natural minor down, it seems that the Lydian scale has more momentum with ascending passages, while the major scale wants to descend. Similarly, Lydian dominant up, Mixolydian down. Phygian 3 7 up, b7 b3 down (especially in 'Flamenco'). Ad infinitum. Granted, one could analyse up as vertical and down as horizontal. But, is this leading tone phenomenon acounted for in LCC? Is this an issue for modal theory? Perhaps 'beauty is in the ear of the behearer? Por favor... :?:
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Postby sandywilliams » Sun Sep 23, 2007 11:03 pm

The Concept uses interval tonics. This is part of Tonal Gravity( the cornerstone of the whole shebang). There is a chart early in the book related to this. I don't have the book handy but I'll look it up and get back.
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Postby Bob » Mon Sep 24, 2007 6:07 am

Meanwhile, ... sights.pdf, starts:
"Fundamental harmonic motion by descending fifth or ascending
fourth is likely the most recognizable feature in common practice
period musical compositions, .... Melodic half step
motion is also a consistently evident and integral part of tonality, and
inextricably tied to the circle progression. Just as the strongest harmonic
motion is that of the descending fifth/ascending fourth, so the strongest
melodic motion is that of the half step. half step motion from leading tone
to tonic provides great impetus toward the tonal center."

This may also be an issue for Schenker, but memory is dim and my Schenker is archived at Ole Miss. Of course LTs are indispensible for bass line momentum. An addendum to my previous post, 'going down column' on Chart A, has the e.g., Allan Forte's sets, giving a sense of more stasis than momentum, i.e., note pools rather than streams.
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