The LCC is not a 'cookie cutter' process. The components can be fashioned to fit the needs of the user. Tonal Gravity is most amendable.
TG is mostly thought of as a horizontal process eg, one note following another (line) and the distance traveled between two notes over some fundamental source.
However, TG can also be used in an uncommon way, as a VERTICAL process.
Remember chords are named from the bottom up, but are voiced from the top down. The distance from the top note to the tonal source or Lydian tonic can be easily measured with TG.
So why is this important? To calculate tension.
Let me give you an example...
The minor 2nd. Full of tension, right? Well it depends on where it is in the chord voicing. On top, it's very bold (B, D, F#, G). However, if it's placed within the interval of a 6th (D, F#, G, B) it's soft and quite pleasing (Go ahead, play it on the piano and hear it for yourself...I'll wait LOL).
So if the music is of the maj, min, dom7th, etc. chord varietyâ€¦it might not matter as much. But if you encounter #5(13th), b9/#9, #9(b13), etc. type chordsâ€¦the vertical application of TG can certainly give you an artistic edge.
In our Hindemith example none of the latter type chords mentioned were used. However, I'll employ vertical TG analysis to the material... just to illustrate it's uncommon application.
In my chord analysis, the flute notes were included as part of the chord (this time) because the notes were so far inside that they were of little or no consequence. If the flute notes had been predominately outside, it would have required a different approach of coarse.
We want to know the distance of the lead voice (flute) from the Lydian Tonicâ€¦NOT the chord. Why not the chord? Because all the chords in a particular lydian family are interchangeable. The Lydian tonic is not, it's a constant. Think of this way, the Lydian tonic is the floor on which Tonal Gravity stands.
TG outlines the sonic spaceâ€¦AND helps us determine the proper placement of tones according to our taste.
The last piece of the puzzle:http://www.4shared.com/audio/Sxhwl8C7/S ... avity.htmlhttp://www.4shared.com/photo/gHelHp6W/S ... avity.html
At this point...the Lydian Tonic takes predominance over the chord.
There are only two things that ALL the members of the band have in common...the TEMPO and the CHANGES (note: not even the melody).
Everything we've done so far was to get to this point...ONE NOTE...the Lydian Tonic. With the knowledge of that one note and how it moves within the context of the song...we have total command. And I do mean total.
Therefore, the one who knows the most should be paid the most (that's right I said it). Just ask Stravinsky or Miles or even Hindemith about that (I noticed his estate doesn't have a whole lot of FREE music out there).
(Back on topic)
As you see the LCC is not in contention with any theory or style of music.
The LCC was the next logical step in the quest for total command.
I'm sorry that I couldn't hold anyone's hand with a detailed 'micro analysis'. But what you have here are the written as well as the sound files to examine at your leisure. Anyone that can understand what is contained in those files owes George Russell quite a debt.
And my personal response to the question, " Can George Russell's theories analyze Hindemith's music? ".
In all fairness, any artist with such a massive body of work such as Hindemith can't possibly be captured after only looking at a few bars. It would take 45-50 such endeavors,...or more.
But you can take comfort in the fact that you have such a tool, the LCC, at your disposal that will allow you to do so...if so inclined.