[Smt-talk] ABSENCE OF LEAD SHEET
Daniel Wolf
djwolf at snafu.de
Fri Apr 19 12:01:07 PDT 2013
While my own student years were sometime back in the Lower Jurassic, I can
still recall vividly that most of my cohort of students came to University
music study already well-equipped with lead sheet chord facility. Those
who had jazz experience were particularly adept at being able to assign a
name to any vertical combination of tones. A significant added value of
college-level music theory was precisely in the aquisition of skill of
locating those chords in functional and linear environments (i.e. real
repertoire) in which "inversion", for example, did make a difference.
Also, though I can't claim any expertise in vernacular musics and would be
happy to be corrected on this point, the assumption — perhaps due to an
orientation towards guitar chord and single-handed keyboard "voicings" —
that chordal inversion and voice leading are less important, or even
disregarded, in vernacular musics, strikes me as unsustainable. This might
be tested by a recognition test in which a number of harmonic progressions
associated with popular or standard songs are played but with randomly
revoiced harmonies.
Daniel Wolf
On Fri, 19 Apr 2013 17:58:07 +0200, Proctor, Gregory <proctor.1 at osu.edu>
wrote:
> Since I have been teaching graduate students primarily in the past few
> years, I find myself using lead sheet notation more and more. It is
> especially helpful in reminding them that what "inversion" a chord is in
> is usually insignificant compared to its nature (triad, added sixth,
> seventh). Roman numeral conventions with figured bass numerals bizarrely
> combine a pitch-class assertion but with a lowest pitch-class..
>
>
--
Dr. Daniel James Wolf
composer
Frankfurt am Main
djwolf at snafu.de
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