Giant Steps: Topsy Turvy

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

Postby bobappleton » Sat Apr 18, 2009 6:27 pm

interesting....

and it sounds great

what's your voicing on the first Bb7 chord?
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Postby bobappleton » Sun Apr 19, 2009 6:28 pm

Yes from the Sibelius file.

The sound of your first Bb7 seemed to have a special quality to it. I could be wrong though - maybe I'm just too busy for serious listening.

So root b7 9 3 13 with the melody (13) on top.

Giant Steps is magical to me and I love listening to the progression..
Last edited by bobappleton on Sun Apr 19, 2009 7:01 pm, edited 1 time in total.
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Postby bobappleton » Sun Apr 19, 2009 7:02 pm

teach me ;)

one thing i notice is that you hear it differently and more easily at 152 in sibelius than on the mp3 which is faster
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Postby bobappleton » Sun Apr 19, 2009 8:43 pm

motherlode wrote:progressions are always written backwards


maybe you can explain this at your leisure...
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Postby bobappleton » Sun Apr 19, 2009 9:52 pm

short for now... followed by long... if you feel like it
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Postby strachs » Mon Apr 20, 2009 9:03 am

Since the solos are vertically relating to the chord of the moment, and the bass is relating to a scale that spans several chords, would this be an example of Supra-Vertical Tonal Gravity?
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Postby strachs » Mon Apr 20, 2009 12:11 pm

I'm doing very well.... and glad to hear you are on the mend. We've missed you. You're so generous with your input and insight!

I see what you're saying - the fact that the bass line spells a scale is almost incidental, and to be used as basically a memory aid to the bass player, not an outline of the tune's harmonic plan necessarily.

To be honest, I'm not even sure exactly what Supra-Vertical means, other than it does not so strongly focus on one GCE like HTG and VTG do. So I wasn't sure if was an example of it.

Russel cites the Giant Steps solo as the quintessential example of a vertical melody, and yet pg 146 says that this theme is not VTG-concieved.

One really brilliant aspect of this composition is that it gets a kaleidascopic effect by virtue of the symmetrical Aux Aug scale, yet it's vertical harmonies are not based on this scale.
Last edited by strachs on Mon Apr 20, 2009 1:10 pm, edited 1 time in total.
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Postby strachs » Mon Apr 20, 2009 1:15 pm

I lack the software. I'm just relying on your transcription.
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Postby dds1234 » Mon Apr 20, 2009 6:13 pm

Hey Mother, why don't you use a free site that supports the Scorch plugin?
-I myself have never been able to find any "free" sites that use it... So it might be a lost cause.

Scorch is a tad glitchy on FireFox...
-At least, last build it was.


=^_^=
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Postby dds1234 » Mon Apr 20, 2009 7:53 pm

The prospect of exchanging 'living' files is so exciting!!


Oh yes! I agree entirely! A while back I spoke about having a designated area for people here to upload their music... If someone finds a free site that uses the Scorch plug in (since I refuse to do that labor :D) I would be more than happy to take any sheet and turn it into the .sib format.

Why of course I downloaded it! I'm just the silent type... :(
Nice use of color and labeling I might add! (I'm the lazy type too...) The use of absolute Aux Aug scales over this seems so confusing and fitting at the same time. I still have yet to see anyone play Giant Steps live but... The Jazz scene isn't too popular around here.

What I do with Sibelius is use it to analyze my music that I sequence elsewhere... A lot of the time I don't know what I am doing in a solo so... It's quite the useful tool.

(Personally I am terrible at sight reading also... That's why I am interested in Scorch files more than anything.)
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Postby bobappleton » Mon Apr 20, 2009 8:47 pm

motherlode wrote:That's what this is about.


Hey Motherlode, could you please email me - bob@robertappleton.com. I tried getting through to you on PM but couldn't. Alice Rusell and I have both been trying to reach you by email....

;)

Thanks

b
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Postby strachs » Thu Apr 23, 2009 10:03 am

Now that you've identified the purpose of this thread, I can see that It directly addresses the question I raised over in "Tritone Substitution".

Related to this, and in response to your first post in this thread, I found an interesting book in Google Book Search ( http://books.google.ca/books?id=tnmTMT6 ... #PPA113,M1 )

It refers to the Coltrane changes and attempts to explain these and other non-traditional resolutions for V7 chords. This is a good example of how cumbersome and not-insightful analysis can be using just the old "roman numeral" approach to progression analysis.

When you think in terms of parent scales and modal tonics, the vertical colors AND the resolutions make more sense - even non-traditional resolutions.

The 7th chord's AMG's on Chart A demonstrate that there are more options than simply going into a "mirror world" - a parent scale a tritone away. Coltrane leaped into tonal worlds that are a major third apart - an Augmented effect, without using any Augmented chords.
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Postby bobappleton » Sun Apr 26, 2009 7:38 am

please listen to the end of this first http://www.youtube.com/watch?v=Q1Oi_PQG ... re=related

and then... solve the puzzle for us...
motherlode wrote:...progressions are always written backwards... Do you want the long answer -or- the short answer?


hope you're having some nice driving weather

b
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Postby bobappleton » Sun Apr 26, 2009 8:20 pm

wow. thank you... (much) more to think about...
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Postby strachs » Mon Apr 27, 2009 7:26 am

There's a name for that process (inserting the V7 chord), but I can't think of it right now.


Are you thinking of "secondary dominants"?
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