Page 1 of 1

LCC Material from the mid 80's

PostPosted: Sun Sep 24, 2017 4:02 pm
by NateComp
I was talking to one of the other guitar instructors that I work with about the LCC, and he said (to my total surprise), "Yeah, when I was student at Berklee back in the mid 80's, George came and taught a special class on LCC that I took."

After picking his brain about it a bit, he said he'd bring me in some copies of the lesson material that George handed out to the class.

I've been going over it, and it's quite a bit of stuff! The majority of it is hand written by George (and then photo copied as handouts for the students in the class). I'm amazed, looking at these handouts, at how many times you can see where George had erased something on the page, only to write it again in a better way, or where he used White-Out to cover something up and re-write it. It's a heck of an insight to see where he was consciously making the best effort to present his ideas to the reader in the best possible way.

There's an LLC analysis of a solo by Joe Berkovitz over Rhythm Changes (with all kinds of interesting labels), an LCC analysis of Coltrane's Straight Street, and an LCC analysis of Herbie's Tell Me A Bedtime Story.

Included with the material is also a copy of the 'outdated' Tonal Gravity Chart (it's been posted on this forum before), as well as several slightly different versions of the River Trip diagram.

There's a lot of interesting (and new to me) terminology in many of the lessons, especially dealing with HTG, Tonic Stations, etc.

One of them is interestingly titled "Data Control Chart For Tonic Station (HTG) Areas". (this page has a copyright of 1982 on it)

I've gone over my own copies (1959 tan cover, 70's white cover, as well as the most recent 4th edition) so many times in the past 15+ years, I've lost count. I'm constantly looking for other new stuff to add to my own understanding and knowledge of the LCC, and I feel fortunate that my co-worker gave me access to this stuff - there's no other way I ever could have got my hands on any material like this. In the continued absence of Volume Two, I'll take anything I can get.

I'd love to scan some of these charts to upload here and maybe open things up for a discussion, but I'm not sure if that would be allowed. These are most certainly George's copywritten ideas, and I don't want to break any forum rules by sharing stuff that I shouldn't be. Not only that, but with the constant evolution of the Concept, I'm not even sure if any of these ideas were going to be included in Volume Two to begin with. (Maybe some of this terminology is also outdated, like the Tonal Gravity Chart?)

Re: LCC Material from the mid 80's

PostPosted: Thu Sep 28, 2017 8:11 am
by Anatole
4th edition vol1. without vol2. seems incomplete alas, not good for posterity, is it ?
I've been reading the 70's edition alongside 4th edition vol1. and it was very interesting,
among others the interval chart (144 intervals).
in vol1 there is this footnote where it's said the interval chart (144 intervals) is to be published within vol2.
why and why not !?

my onedollar guess would be there are certain outgoing intervals in the chart that are more on the horizontal/flat side/active tendency (kinda like the p4 ascending from the I and the p5 descending from the I) than the others outgoing intervals that are more on the vertical/sharp side/passive tendency.
this is kinda tricky depending on the conditions (voicing, timing, surroundings etc.) when an interval flips on the active side vs the passive side; well there is this passage when GR says the +4 kinda neutralizes/verticalizes the active/horizontal tendency of the p4 (ex. a maj7 up from the +4, a min2 down from the +4), but how about the rest (for example a maj3 up from the +4 and a p5 up from the b7) ? idem for every other outgoing intervals etc.

of course this has to be discussed, documented and sounded in musical situations to understand how it really sounds. now it's good to know GR already did that massive work and fortunately he let them all the good stuffs on his desk.

ps. that stuff about the tonic stations seems interesting, see, I always wonder what GR means by "conditions of vertical gravity" at several points in vol1. well I understand it like "enough ingoing intervals to support/converge/sound towards one lydian tonic" or whatever makes a lydian tonic obvious enough so that it may not be moved by some outgoing intervals. well many different situations/conditions that makes a lot of grey areas.