Dr. Reed Gratz on 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.

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Dr. Reed Gratz on LCC

Postby NateComp » Fri Jun 23, 2017 3:23 pm

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Re: Dr. Reed Gratz on LCC

Postby Anatole » Sat Jul 08, 2017 6:39 am

hey Nate,

nice video, cool link, thanks for posting it, it is a indeed very understandable intro to the LCC.

very interesting/important the point he makes about the times and angry music.

he (Dr. Reed Gratz) says horizontal music is what resolves, well I wish V2 material would be exposed to explain it further, though it seems resolution may be a particular kind of horizontal move (to the sharp side), (could be also vertical though etc. stuffs that are quite well explained in V1).

well in seems that in a larger sense, horizontal means when the music changes its key centres, it's a very relative thing that it has quite much to do with harmonic rhythm (ie. lydian tonics change rate).
I hope to see what comes up about all this, if it comes up indeed,
there is that post where ANR says Vol2 is still in preparation that is quite optimistic.


recently I went across these videos with Don Freund about what he calls the Spectrum of Fifths,
it's rather interesting to watch.
https://youtu.be/ks7VanTL83g?list=PLFBB3102A83E94D59
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Re: Dr. Reed Gratz on LCC

Postby Tom R » Tue Jul 11, 2017 8:25 pm

Hi Nate and Anatole

I too very much enjoyed the video - so much additional meaning can be conveyed from the social and philosophical context.

I understood Dr Gratz to be saying that the horizontal gravity was 'progressional' (i.e. functional) harmony - the pull of bass notes, clothed diatonically with appropriate extensions, towards a conclusion (i.e. teleological harmony).

Actually, I think George did himself a disservice in the way he characterised certain bop and proto-bop players as "vertical" and players like Lester Young as "horizontal". This conflated articulating chords melodically and functionally with vertical playing. Chord-scale unity, the premise of the vertical standpoint, is different to 'playing the changes' as we commonly understand them in Jazz. You can hear this in Dr Gratz's demonstrations of the sorts of vertically-minded chords, where all extensions are open and available. George had good reason to articulate the distinction in this way, but it's an intellectual feint.

Best,
Tom
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