[Smt-talk] The Concept of Appoggiatura

[Daniel Roca]

I don't think I explained myself or maybe it's the cultural breach.. ;-)

First i said that the tipical example of passing note in the standard Spanish music textbook (theory is here taught to children and teenagers, so that they are "supposed to" master it in college years) is just the three notes C-D-E without context. I know it's terrible, but it is this way actually).

With absolutely no relation (and absolutely no seriousness) I posed the question about the possible Urlinie to the Rodgers and Hammerstein song. I think it would be too beautiful (in a paradoxical way) the the Urline would be 3-2-1. (my brain just connected the notes do-re-mi with the song's title)
 
I didn't intend to make any connection between do-re-mi in the song and passing tone. [although, the "re" in m. 1 of the song is indeed a passing note, BTW. But I don't want to cause more trouble ;-)]

Should I understand from your answer that Schenker wrote on this particular subject??? ;-) 

El 25/10/2012, a las 19:15, Donna Doyle escribió:

> The way do-re-mi is harmonized in The Sound of Music, there is no passing tone. There is a 
> V harmonizing the re between the two tonic chords. The re is a dominant chord tone. Have
> you read Schenker on this? The situation is really about different levels of perspective. 
> 
> 
> On Oct 25, 2012, at 12:06 PM, Daniel Roca <drocacan at gmail.com> wrote:
> 
>> You're 100% right.  But in many Spanish texts all you get as an example of passing note is a G-staff with do-re-mi on it.
>> You know the old touristic advertising: Spain is different! ;-)
>> 
>> El 25/10/2012, a las 15:24, Donna Doyle escribió:
>> 
>>> Well, Daniel, I know I'm living, but I'm wondering if I'm dreaming here. How can tones be classified 
>>> as harmonic or not without harmony? Unless beginning students are expected to discern the harmonic 
>>> tendencies of a melody without an explicit context . . . 
>>> 
>>> Best,
>>> Donna Doyle 
>>> 
>>> Queens College CUNY
>>> 
>>> 
>>> On Oct 25, 2012, at 7:42 AM, Daniel Roca <drocacan at gmail.com> wrote:
>>> 
>>>> I just wanted to say that Dimitar's classification coincides mostly with the one I use and know as usual. The most idiosincratic difference that is common here is that, awkwardly enough, textbooks definitions and examples usually picture them purely as melodies (with no harmony context at all and often as theoretical examples not citating any piece in particular), and you can imagine this leads sometimes to misunderstandings.
>>>> 
>>>> I also sympathize with keeping the "official" classification and simple as possible, and complementing it with on-class amplification by the teacher, always connected to an apropiate context. So students can see that theoretical concepts (kept as simple and straightforward as possible) can lead to neverending richness of musical effects.
>>>> 
>>>> May I paraphrase "the only good theory is a living theory"? ;-)
>>>> 
>>>> 
>>>> _________
>>>> Mark Twain: Haz siempre lo correcto. Esto gratificará a algunos, dejará atónitos al resto.
>>>> 
>>>> Daniel Roca
>>>> Músico
>>>> drocacan at gmail.com
>>>> 
>>>> 
>>>> 
>>>> 
>>>> 
>>>> 
>>>> 
>>>> 
>>>> _______________________________________________
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>>> 
>> 
>> _________
>> Mark Twain: Haz siempre lo correcto. Esto gratificará a algunos, dejará atónitos al resto.
>> 
>> Daniel Roca
>> Músico
>> drocacan at gmail.com
>> 
>> 
>> 
>> 
>> 
>> 
>> 
>> 
> 

_________
Mark Twain: Haz siempre lo correcto. Esto gratificará a algunos, dejará atónitos al resto.

Daniel Roca
Músico
drocacan at gmail.com








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