Math and the LCC - with an example

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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Math and the LCC - with an example

Postby bobappleton » Sat Jan 02, 2016 10:54 am

This a track from Isaac DelPozo's first CD – CYCLE.
It's based on mathematical formulae derived from the LCC.

A Very Altered Cherry - Isaac Del Pozo
https://www.dropbox.com/s/dttyqzgmdqt4pho/A%20VERY%20ALTERED%20CHERRY.mp3?dl=0

He calls this Super Lydian
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Re: Math and the LCC - with an example

Postby bobappleton » Sun Jan 03, 2016 12:08 pm

So I think this is some of the most interesting work I've seen (heard) on the Concept.
What do you think of this music people???

Bob
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Re: Math and the LCC - with an example

Postby chespernevins » Mon Jan 04, 2016 1:46 pm

Sounds good to me!
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Re: Math and the LCC - with an example

Postby isaacdelpozo » Wed Jan 13, 2016 12:32 pm

Hello to everyone,

Questions are good!


Isaac


:mrgreen:
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Re: Math and the LCC - with an example

Postby bobappleton » Wed Jan 13, 2016 1:06 pm

My question exactly - So Isaac. What is Super Lydian? And how does it apply to your composition A Very Altered Cherry for example ??

bob
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Re: Math and the LCC - with an example

Postby bobappleton » Thu Jan 14, 2016 11:49 am

Sal, I know that Isaac just moved to a place where he has limited internet. Thanks opning the discussion... Helk be back to us soon...

b
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Re: Math and the LCC - with an example

Postby bobappleton » Thu Jan 14, 2016 1:03 pm

I think it could be either :)
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Re: Math and the LCC - with an example

Postby bobappleton » Thu Jan 14, 2016 2:34 pm

ok
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Re: Math and the LCC - with an example

Postby dogbite » Sun Jan 17, 2016 4:17 pm

[quote="SalKur"]"super lydian' if these are your words, what does it mean?[/quote]

i use "superlydian" to describe lydian augmented, the logic being that if superlocrian is the flattest mode of the melodic minor one tone flat from locrian, then "superlydian" is the sharpest mode from melodic minor, one tone sharp from lydian. i would not presume to speak for isaac in any event, but perhaps this is what he meant...
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Re: Math and the LCC - with an example

Postby bobappleton » Sun Jan 17, 2016 4:59 pm

:)
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Re: Math and the LCC - with an example

Postby isaacdelpozo » Mon Jan 18, 2016 6:37 am

Hello to everyone,

The harmony of A very altered Cherry is al lydian chords.

You can use either the lydian mode of each chord or the lydian augmented mode also called "superlydian".

All this harmony moves in a modal fashion without dominant motion.

The principle of tonal gravity explains that there is no need to have tension in the chords , cause they move in a natural way due to the exponential geometry of the chromatic scale.


Isaac
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Re: Math and the LCC - with an example

Postby isaacdelpozo » Mon Jan 18, 2016 6:46 am

I hope that the original helps!

I upload the piano part and the solos harmony.


Isaac
Attachments
avac(reg) Keyboard-2 2.jpg
ORIGINALS
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Re: Math and the LCC - with an example

Postby isaacdelpozo » Mon Jan 18, 2016 6:50 am

LEAD SHEET- A very altered cherry


Isaac
Attachments
avac(reg) Keyboard-2.jpg
ORIGINALS
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Re: Math and the LCC - with an example

Postby bobappleton » Mon Jan 18, 2016 8:38 am

Hey thanks Isaac - look forward to checking that out on my piano...

b
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Re: Math and the LCC - with an example

Postby isaacdelpozo » Thu Jan 21, 2016 10:30 am

Hello salkur,

The composition is thought in an open key ( there´s no main tonality).
I don´t understand the meaning of "playground swing".

Mathematics define all chords as sum´s of sinusoidal signals and the scales describe ( when tempered) an exponential curve, so answering to your question this is the role that they play.

Lydian chords also can move anywhere, you can try the following progressions on the keyboard:

FLYD/GLYD/ALYD/GLYD/ ( ballad feel)

FLYD/ABLYD/DBLYD/GBLYD/ (random feel)

So it´s proven that they move ANYWHERE. In non-functional music there is no need to have a harmonic justification.

I can upload something about the algebraic characteristics of the lydian scale if the forum is interested.


Isaac
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