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.
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
... I like what you just said... I'm new here and look forward to assimilating this concept into my musical thought processes. I play trumpet and percusssion in small combo and improvising is mandatory... I (too quickly) read the first 5 chapters and finished test A in ch4 and decided I was ready to grab a standard chart (pencil & paper) "Autumn Leaves" and convert the changes to concept... wrong! ... It seemed like I was doing ok until I got to the (Bmin7b5 for me) in bar 5, my mental process fell apart
questions, please...
I see from chart A that +IV is the PLT for min7b5 (ii of minor ii-V-i), - at this point in the song I am thinking, ok, F Lydian scale is Primary, but I think I need tension/outgoing: what are the best Tonal Order choices? how do I know? Is there a "most likely" candidate Tonal Order that an LCC improvisor would use over a min7b5 in this situation? Is this info in the book - upcoming chapter?
Unfortunately I don’t think the Circle of Close to Distant Relationships is in the new edition of the book. Hopefully this will be addressed when the book on Horizontal Tonal Gravity comes out.
thank you both for this incite... my book came with a doc called CHART A. It has two sides refered to as brain and body. Perhaps the "Close to Distant Relationship" is hidden here.
Also for steering me toward better chord chart... the realbook chart I copied has in bars 5 - 8: (trumpet key)
No worries. Sometimes it gets played in G(concert) and sometimes in Bb. It's nice to play tunes in different keys. There is Paul Desmond side ( with the great Ed Bickert on guitar) where they play Wave in F. This has become something fun to do at gigs. Manly men can play any tune in any key..its good practice anyway.
thanks... how embarassing ... I'm at work, in another world and didn't think it through...