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<font face="Calibri">The problem with that figuring is that one
tends to mistake label (or form) for function. It all depends on
how the figuring is performed. If +6 becomes a label for any chord
in the <u>form</u> of a dominant 7th in second inversion, then
the figuring loses any analytical value, IMO. The + should be used
exclusively to denote a leading tone that resolves as a leading
tone; but our students do not restrict it to that particular case!<br>
<br>
</font>Nicolas Meeùs<br>
Université Paris-Sorbonne<br>
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Le 19/12/2010 11:43, Michele Ignelzi a écrit :
<blockquote cite="mid:36291807-2BF1-4189-A969-5D74B4F8598C@tin.it"
type="cite">Dear Nicolas and List,
<br>
<br>
I must admit I have a penchant for figures like +6, etc. They are
compact labels for identifying dominant chords, and have
analytical value, IMO.
<br>
<br>
Only my five cents,
<br>
Michele
<br>
<br>
<br>
On Dec 18, 2010, at 12:28 AM, Nicolas Meeùs wrote:
<br>
<br>
<blockquote type="cite">This all would tend to indicate that
Boulanger's harmonic pedagogy, if it was based on these Vidal
basses, may not have been very different from the French
traditional one (i.e. that of the Conservatoire National
Supérieur de Paris), with its odd figures includig +6, +4, etc.,
or barred 5, etc.
<br>
</blockquote>
<br>
---------------------
<br>
Michele Ignelzi
<br>
<a class="moz-txt-link-abbreviated" href="mailto:m.ignelzi@tin.it">m.ignelzi@tin.it</a>
<br>
Florence State Conservatory, Italy
<br>
</blockquote>
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