[Smt-talk] Criteria for Old and New

[Ninov, Dimitar N]

Dear Paul,

If they compose, or arrange, or play harmonic progressions on the piano and devise modulations, they are certainly using working knowledge on harmony, not a speculative one.

Thus they would certainly enjoy the dynamic interaction between T, S, D and their substitute chords: at some places where Schenker prescribes a prolongation, they will hear clear harmonic exchange; wherever he alters an ascending melodic line to convince the world it is descending, they will appreciate the ending on “si-do” or “sol-do” as a perfect melodic cadence; wherever he erases scale degree 4 in the bass to replace it with 3, they will appreciate the logic of the “do-fa-sol-do” fundamental bass as a typical means of  unfolding a key. 

In doing all that, they will see no Schenker, but the colorful picture of the holy trinity (T, S, and D) and their apostles (SII, M, SM and DVII). 

Thank you,

Dimitar

Dr. Dimitar Ninov, Lecturer
School of Music
Texas State University
601 University Drive
San Marcos, Texas 78666
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