LCC Material from the mid 80's

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.

Moderators: bobappleton, sandywilliams

Forum rules
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

LCC Material from the mid 80's

Postby NateComp » Sun Sep 24, 2017 4:02 pm

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?)
NateComp
 
Posts: 25
Joined: Fri Sep 04, 2009 2:32 am

Re: LCC Material from the mid 80's

Postby Anatole » Thu Sep 28, 2017 8:11 am

yes,
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.
Anatole
 
Posts: 30
Joined: Mon Nov 26, 2012 12:47 pm
Location: France


Return to Lydiation (LCC General Discussion)

Who is online

Users browsing this forum: No registered users and 2 guests

cron