Hi Mother,
After reading your email - and doing some research, I joined a site called 4shared. It's free. And I uploaded two files you sent me. I think this will work as a way for all of us to up- and down- load files safely and it's not illegal.
I hope you don't mind, but here are links to two files you sent me - your beautiful new composition Festus - a .pdf file and an mp3 file.
http://www.4shared.com/file/35370591/19 ... estus.html
http://www.4shared.com/file/35370593/f7 ... estus.html
If this works, any of us can sign up here for a free account and post music and sounds. The files will be deleted after 30 days if they're no longer being downloaded. But that's just the cost of "free" downloading. And it should work for all of us to communicate musically until something else comes along. http://www.4shared.com/
Bob
Schillinger forum perk...
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
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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bobappleton
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bobappleton
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chespernevins
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Hey Motherlode,
Nice chart man. (RE: The tonal gravity chart/intervals.)
I was looking at it, and thought something was unusual at first. Then I realized that George must have exchanged the positions of the 4th and the b7 (in terms of the 10 tone order and 11 tone order) between the older editions and the newest edition.
Does everyone agree that this is what happened or am I hallucinating?
Anyhow, it's a small difference, I think. I have started re-writing these intervals with the Bb being the 10th tone and the F being the 11th tone because that's how I learned it.
But great idea to really play all these intervals and internalize them.
Thanks for sharing that.
CN
Nice chart man. (RE: The tonal gravity chart/intervals.)
I was looking at it, and thought something was unusual at first. Then I realized that George must have exchanged the positions of the 4th and the b7 (in terms of the 10 tone order and 11 tone order) between the older editions and the newest edition.
Does everyone agree that this is what happened or am I hallucinating?
Anyhow, it's a small difference, I think. I have started re-writing these intervals with the Bb being the 10th tone and the F being the 11th tone because that's how I learned it.
But great idea to really play all these intervals and internalize them.
Thanks for sharing that.
CN
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sandywilliams
- Posts: 201
- Joined: Tue Sep 05, 2006 9:17 pm
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sandywilliams
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chespernevins
- Posts: 368
- Joined: Sat Sep 16, 2006 7:34 am
Sandy said:
Interesting about point #2.
On the AAJ there is a thread right now that talks about the LCC's "fudge factor". This is referring to the "skipping" of the b2 in the Western Order of Tonal Gravity - and then putting it at the end:
Lydian scale: C G D A E B F# ... and then ... G# D# Bb F Db
But I have never been convinced that George came up with the 9-12 tone orders based on fifths at all, beyond the ladder of fifths / Lydian scale.
The "old tonal gravity order", ie:
C G D A E B F# ... and then ... G# D# F Bb Db
tends to confirm (in my mind) that George did not come up with the 9-12 tone orders based on the ladder of fifths. There were other factors that led him to decide on this order, which we could speculate about forever, I'm sure.
If the Western Order of TG is only *coincidentally* close to a ladder of fifths, then there is no fudge factor at all - just a coincidence.
I'm speculating here, but I tend to doubt that George would change the Tonal Order simply to try to make it one step closer to a ladder of fifths.
I think point #1 is more likely - he included the lydian b7 scale (for some reason) and then moved the aux. aug. scale up in the order since the b7 had already been introduced in the lyd. b7.
======================
Motherlode, Bob, I like the site where we can upload and share files. I was a little confused by it at first, but I did get to download some of Motherlode's files.
Motherlode, I'm finally getting a chance to check out your tune - I enjoy it, especially the dissonances between trombone and tenor and the rhythmic part you composed for the piano. I've just started looking at it, though.
So, do our posted files expire after a month or so?
Sorry to cram many topics in the same thread. It seems we still can't start new threads?
Good points Sandy.I’m going to examine this more. Any change might be due to two factors:
1. The inclusion of the Lydian b7 scale as an official scale
2. Making the tonal order follow more closely the cycle of fifth but b2nd but at the end.
Interesting about point #2.
On the AAJ there is a thread right now that talks about the LCC's "fudge factor". This is referring to the "skipping" of the b2 in the Western Order of Tonal Gravity - and then putting it at the end:
Lydian scale: C G D A E B F# ... and then ... G# D# Bb F Db
But I have never been convinced that George came up with the 9-12 tone orders based on fifths at all, beyond the ladder of fifths / Lydian scale.
The "old tonal gravity order", ie:
C G D A E B F# ... and then ... G# D# F Bb Db
tends to confirm (in my mind) that George did not come up with the 9-12 tone orders based on the ladder of fifths. There were other factors that led him to decide on this order, which we could speculate about forever, I'm sure.
If the Western Order of TG is only *coincidentally* close to a ladder of fifths, then there is no fudge factor at all - just a coincidence.
I'm speculating here, but I tend to doubt that George would change the Tonal Order simply to try to make it one step closer to a ladder of fifths.
I think point #1 is more likely - he included the lydian b7 scale (for some reason) and then moved the aux. aug. scale up in the order since the b7 had already been introduced in the lyd. b7.
======================
Motherlode, Bob, I like the site where we can upload and share files. I was a little confused by it at first, but I did get to download some of Motherlode's files.
Motherlode, I'm finally getting a chance to check out your tune - I enjoy it, especially the dissonances between trombone and tenor and the rhythmic part you composed for the piano. I've just started looking at it, though.
So, do our posted files expire after a month or so?
Sorry to cram many topics in the same thread. It seems we still can't start new threads?
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sandywilliams
- Posts: 201
- Joined: Tue Sep 05, 2006 9:17 pm
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chespernevins
- Posts: 368
- Joined: Sat Sep 16, 2006 7:34 am