vicissitudes
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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
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
vicissitudes
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...
10 {The artist formerly known as Bb}
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sandywilliams
- Posts: 201
- Joined: Tue Sep 05, 2006 9:17 pm
Thanks,
Meanwhile, http://www.macromusic.org/journal/volum ... 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.
Meanwhile, http://www.macromusic.org/journal/volum ... 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.
10 {The artist formerly known as Bb}