Festus by ML

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

Festus by ML

Postby chespernevins » Fri Feb 01, 2008 11:42 am

I was playing Motherlode’s tune Festus at the piano the other night.

(I'm going to throw this out there and see if anyone can make any sense whatsoever of what I'm trying to say....)

I heard the melody as emphasizing the II chord of the Lyd key while the stated harmony was a LYD I or VI chord.

I am doing this from memory – don’t have the chart in front of me right now. But as I recall, the first section was in G- (Bb Lyd) and the melody used the notes of Bb Lyd but emphasized (or even resolved to) a C triad.

The second section was in F# LYD and the melody used the notes of F# lyd but emphasized (or even resolved to) an Ab triad.

ML, I hope I’m not over analyzing here, but it is nice to have your tune to hear and think about.

Listening to this made me wonder if the melody was simply in the Lyd parent key, or if the melody could be seen as a study in the Conceptual Modal Genre II (CMGII or IIh or mixolydian mode built on LYD II) superimposed on the Lyd I.

Motherlode, how do you think of this?

I wonder if this would be a good example of why George calls the II a “dual stateâ€
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Postby chespernevins » Thu Feb 14, 2008 10:25 am


Thanks so much for sharing your thoughts on this. I wish I could be as timely in my responses as you are! Given my schedule, I usually have to wait until a weekend or some free time to go over in-depth details. But as you see, I do get to it.

Much appreciated, I'll be checking this out!
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