Kinda odd?

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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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
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dds1234
Posts: 66
Joined: Tue Apr 10, 2007 12:54 am

Kinda odd?

Post by dds1234 »

I finally have a question that is topic worthy.

Alright, I have been thinking lately of the dominant seventh II versus the major seventh II or I in consonance to dissonance.

If you are thinking of the concept terms on the TG chart, or relating to the most outgoing step, the dominant seventh is more dissonant. However if you convert the two to TG numerals and use basic addition, the dominant is less outgoing. For example the numbers for a second fifth chord would be 1 2 3. Or six combined. Most major triad!!

Thinking of it this way----

I V III VII
1 2 5 6

I II VI +IV
1 2 3 7

Lower addition equals more consonance... possibly.

Most outgoing in each---

Major seventh- VII
Dominant seventh- +IV
bobappleton
Posts: 355
Joined: Mon Sep 04, 2006 8:57 pm
Location: Toronto, Canada
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Post by bobappleton »

hi dds. we're all still over at the aaj site defending truth, justice and the lydian way. sorry if you feel alone over here. come and see for yourself. it's been going well... with some large attitude changes http://forums.allaboutjazz.com/showthre ... post344976

bob
chespernevins
Posts: 368
Joined: Sat Sep 16, 2006 7:34 am

Post by chespernevins »

dds,

I don't know if I'll have any good input for you or not, but at the moment I am not following your question...?

Would you clarify for us?

Thanks!
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