[Smt-talk] Written record of Boulanger pedagogy?
Victor grauer
victorag at verizon.net
Sun Dec 19 06:52:22 PST 2010
Concerning the Vidal basses, it's easy for an experienced musician to
forget that learning the rules of traditional harmonic practice (both
chord progressions and voice leading) is, for most students,
extremely difficult. For this reason, my own inclination is to begin
with the teaching of modal counterpoint, which, as I see it, is much
easier, much more creative, and an excellent preparation for the
study of harmonic voice leading, not to mention melody writing and
scoring. I would assume Vidal's basses (and others like them, of the
sort I toiled over as a student) are deliberately designed so the
student can focus on voice leading only, with no regard for the much
more difficult matters of chord progression, phrasing, cadential
preparation, etc.
It's probably best to think of them as analogous to physical
exercises, such as pushups and weight lifting (or scales and
solfeggio, for that matter), designed to strengthen the mental and
musical "muscles" of the student, which can only be done through
tedious repetition. Once the student gets to the point that he can do
such exercises without making the usual sort of errors, he should be
able to "see" tonal relationships much more clearly, making it easier
for him to move on to exercises that are more challenging and
meaningful, such as the study of Bach chorales, Mozart minuets and,
ultimately, Schubert, Brahms, Wagner, Stravinsky, Schoenberg, Stockhausen, etc.
Victor Grauer
Pittsburgh, PA,
USA
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