Lydian aug Re-visited

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.

Moderators: bobappleton, sandywilliams

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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

Postby chespernevins » Fri Oct 19, 2007 9:04 am

I would enjoy reading how "the concept" was used to solve your musical problems

I play a few instruments - piano, chromatic harmonica, trombone.

The trombone and harmonica both have a physical layout (limitations) that you must work with.

Early on, the idea of vertical gravity got me away from having to play certain horizontal melodies that were in the "popular domain" in jazz, which sometimes required certain kinds of gestures to prepare and resolve "avoid notes" in a certain way. If these gestures didn't lay right in a certain key on a difficult instrument, then you would trip over the phrase.

The vertical gravity idea and the member scales meant you could land on any note in the scale and it would stand alone if need be. And the extended array of member scales meant you had a LOT of choices. So out of all the given choices, there was always some combination of melodic and physical choices that worked.

And of course, you could still play a major scale melody in a key where it really lay well.
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