my thoughts on the LCC

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

my thoughts on the LCC

Postby Ben Schwendener » Sat Aug 01, 2009 3:39 pm

George Russell’s Lydian Chromatic Concept is both profoundly deep while simple in its vast implications to musical expression and correspondences to life as well.

The essence of anything is found in its complete source.

In terms of the chord, this is demonstrated in that a chord represents (is) a mode of its Parent Scale.

The connection of all things is realized through the all-inclusive nature of the complete source.

In terms of a chord’s connection to all other chords, this is demonstrated by the inclusion of all other Lydian Chromatic Scales within the Parent Lydian Chromatic Scale.

The richness afforded by conscious choice is realized through awareness of the Close to Distant Relationship [governed by (in music -Tonal) gravity] of everything.

Music reveals insight into the multi-dimensional nature of existence. The LC Concept terms these dimensions Vertical (the chord), Horizontal (the tonic station) and Supra-Vertical – the summital or entirety of an event.

The beauty of the Concept is revealed in its aim of complete inclusion of all Tonal Resources (past, present and future) available to the (musical) creator.

Rhythm and other Formal Elements are codified in similar fashion, ultimately provided a method-free overview of the natural resources available for truly free, and potentially, absolutely self-created musical expression.

In all this, George always stressed that the Concept is open-ended – encouraging students to have their own discoveries. The potential of this receiving of musical resource understanding is truly limitless.
Ben Schwendener
 
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Postby bobappleton » Sat Aug 01, 2009 4:12 pm

Hi Ben,

A big welcome to the Forum. It will be great to have your "voice" here.

Best wishes!

Bob
bobappleton
 
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Postby Ben Schwendener » Sat Aug 01, 2009 5:23 pm

glad to join you all!
Ben Schwendener
 
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