Hmm...

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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Hmm...

Postby dds1234 » Thu Nov 06, 2008 8:25 pm

It seems as though GR decided to to abandon the (I) and the (V) in his Circle of Relationships Between Chords in the 2nd edition of the concept.

I think this makes quite a statement... The frustration of their interchangeability...
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Postby strachs » Fri Nov 07, 2008 1:30 pm

I've never seen that edition of the book. It's too bad that much of the material in older editions is missing in the current one. Probably intended to be addressed in Vol II. Makes you wonder what the holdup is (it's been almost eight years).
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Postby sandywilliams » Sat Nov 08, 2008 9:39 am

Can you clarify?
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Postby dds1234 » Sun Nov 09, 2008 2:56 pm

On the very last page of the second edition there is a circle of how chords relate to one another... Kind of a fraction of chart A on a single page.
He has all of the roman numeral categories (PMTs) listed on the newest edition's chart A besides two most basic roman numerals - I - V -

I figured his reasons for doing so are as follows. They are the most interchangeable of any of the roman numerals, they label basically the same genre of chords on a different category, the only two to have this trait according to chart A. I will gladly state there is a really big difference between (I) and (V) major chords/scales that occur on these steps! This is extremely basic but insanely complex. Like music itself...

Truthfully, I am just making an assumption.

I remembered that topic speaking about how much the chord categories and even the order of tonal gravity had changed over the years. I decided to post this because there is some serious restlessness for the next edition of LCCOTO. It reminded me that I had noticed this oddity a while back.

I feel so sorry for the people who have been waitin' over seven years for it... I have been studying it since '06 and I am hyped!
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Postby sandywilliams » Sun Nov 09, 2008 6:53 pm

OK I’m on the same page with you. He didn’t abandon the I. As a matter of fact, it’s staring us in the face. The I is the big letter in the middle of each circle, the Lydian Tonic. I think you have to look at those Roman numerals differently than if you were looking at an analysis of a piece using trad. theory. They wouldn’t be used for diagramming a chord progression like a III-VI-II-V-I. They are simply where the different Modal Genres reside within a Lydian scale. The V probably isn’t there because modal genre Major VB is more like an inversion of I than a completely distinct category.

I like the one page summary of the LCC in back of that edition. I hadn't looked at that for a while.
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Postby dds1234 » Mon Nov 10, 2008 4:24 am

Haha! Staring me right in the face... I'm so embarrassed! :oops:
-Maybe I should observe a tidbit more before posting. :wink:
--Bleh! I need to stop posting dead end threads. :(

It is still odd. Unlike The Order of Tonal Gravity it seems as though GR meant that the Lydian tonic relates to all of them as equals... Quite strange. For my ear cannot accept such a statement! Or fact...

-I'm thinking I should rely more on examples from the older editions, not the larger aspects, as not to skew my views. (He's much more blunt/clear in this current edition...) For example p.124 compared to what I previously stated.
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