SMGs Anyone?

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 » Fri Apr 04, 2008 3:31 pm

dogbite wrote: but i think the point is valid whether or not the designation of [v,h] is applied to the II...

db

But of course. I wondered if the point was only valid applied to modal genres. Thanks for the clarification.
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Postby Bob » Fri Apr 04, 2008 3:41 pm

strachs wrote:Again on that diagram Bob posted....

Wouldn't it be cool if someone could make such a "interactive" slide-rule type tool to display the modes of a Principal Scale in all the keys, and how they bend and twist when morphed into the more outgoing scales?

If anyone knows the web develper who created that cycle of fifths page......


You read my mind. Rand@RandScullard.com I'd chip in to buy him a copy of LCCTO.
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Postby Bob » Fri Apr 04, 2008 3:54 pm

Is this a serviceable paraphrase of GR p.127 (last paragraph):

Look at example VIII:I. with the key of the music on Roman numeral I at the 6 o'clock position. Now imagine each point of the circle of 5ths, each with its own Chart A.

'Wheels within wheels.'
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Postby Bob » Fri Apr 04, 2008 4:17 pm

strachs wrote:Not sure if this helps..


It does indeed help.

And, on 128

[The 'wheels within wheels']...
is the full spectrum of possibilities provided by the LC scale for exloitation of SMG within a prevailing chord/parent scale alliance.... However, their use within VTG alliances must be carefully managed to sustain the integrity of the level of VTG,....


And on the HTG level getting there and back is the trick. So when exploiting I - V - I, mind the -'s. N'est pas?
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Postby dogbite » Fri Apr 04, 2008 8:32 pm

"You read my mind. Rand@RandScullard.com I'd chip in to buy him a copy of LCCTO."

me too...

db
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Postby sandywilliams » Fri Apr 04, 2008 8:58 pm

I think you are talking about SVTG as much as SMGs. You must be careful when adjusting the matter and anti-matter flux. Without HTG the ship might implode!
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Postby Bob » Fri Apr 04, 2008 10:17 pm

sandywilliams wrote:I think you are talking about SVTG as much as SMGs. You must be careful when adjusting the matter and anti-matter flux. Without HTG the ship might implode!

Can you say more about that?
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Postby Bob » Fri Apr 04, 2008 10:24 pm

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Postby sandywilliams » Fri Apr 04, 2008 10:39 pm

I once made a CD mix..but not quite…it was entirely made up of different versions of ‘Round Midnight. I’m pretty sure they’re enough versions in the ol’ library to do the same with Autumn Leaves. This version would be a great addition. It’s fun to listen and compare…not for the ‘best’ or anything like that but like going to a museum and checking out how different painters paint an apple.
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Postby Bob » Fri Apr 04, 2008 10:58 pm

It sounded to my drummer's ears that Sr. Rubalcaba went through Charts A-Z on his solo. He's really fired up on that clip. I heard him live and his playing was quiet, sensitive, and austere. What a range of emotion this guys got. My old trio mate, Jeff Chambers, played with him for a while. I wonder what that was like. Jeff has amazing ears, which were an advantage, to say the least.
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Postby sandywilliams » Fri Apr 04, 2008 11:04 pm

[quote="Bob"][quote="sandywilliams"]I think you are talking about SVTG as much as SMGs. You must be careful when adjusting the matter and anti-matter flux. Without HTG the ship might implode![/quote]
Can you say more about that?[/quote]
In SVTG it’s sort of like juggling a bundle of little Ferris wheels of tonality. I can’t say I can do it. I hear HTG as the element that centers all this activity. Without it you might need some Dramamine.
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Postby Bob » Fri Apr 04, 2008 11:12 pm

sandywilliams wrote:
Bob wrote:
sandywilliams wrote:
In SVTG it’s sort of like juggling a bundle of little Ferris wheels of tonality. I can’t say I can do it. I hear HTG as the element that centers all this activity. Without it you might need some Dramamine.

HTG as in chord substitution?
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Postby dogbite » Sat Apr 05, 2008 12:05 am

sandywilliams:

"I think you are talking about SVTG as much as SMGs. You must be careful when adjusting the matter and anti-matter flux. Without HTG the ship might implode!"

she can't take much more of this captain!
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Postby sandywilliams » Sat Apr 05, 2008 8:24 am

[quote="Bob"][quote="sandywilliams"][quote="Bob"][quote="sandywilliams"]
[quote]In SVTG it’s sort of like juggling a bundle of little Ferris wheels of tonality. I can’t say I can do it. I hear HTG as the element that centers all this activity. Without it you might need some Dramamine.[/quote]
HTG as in chord substitution?[/quote]
HTG is the thread that ties together chord substitution. Simply put: if you are reharmonizing a tune, the HTG of the melody usually stays the same. My Ipanema example shows how this is not always the case.
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Postby Bob » Sat Apr 05, 2008 8:38 am

An effective 'slide rude' can be created by taking the 'The Lydian Chromatic Order of Tonal Gravity" table (http://lydianchromaticconcept.com/lccoto_2.html), setting the Interactive circle of fifths to the Lydian scale at the tonic of choice, and mentally juxtaposing Chart A. (Accommodating, of course, for making the b9 go to the back of the line.) (Then having the set theory calculator off to one side...) :twisted: Pre-heat Sibelius to 350.
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