<html xmlns:v="urn:schemas-microsoft-com:vml" xmlns:o="urn:schemas-microsoft-com:office:office" xmlns:w="urn:schemas-microsoft-com:office:word" xmlns:m="http://schemas.microsoft.com/office/2004/12/omml" xmlns="http://www.w3.org/TR/REC-html40"><head><meta http-equiv=Content-Type content="text/html; charset=windows-1256"><meta name=Generator content="Microsoft Word 12 (filtered medium)"><style><!--
/* Font Definitions */
@font-face
{font-family:"Cambria Math";
panose-1:2 4 5 3 5 4 6 3 2 4;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;}
@font-face
{font-family:Calibri;
panose-1:2 15 5 2 2 2 4 3 2 4;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{margin-top:0cm;
margin-right:0cm;
margin-bottom:10.0pt;
margin-left:0cm;
line-height:115%;
font-size:11.0pt;
font-family:"Calibri","sans-serif";}
a:link, span.MsoHyperlink
{mso-style-priority:99;
color:blue;
text-decoration:underline;}
a:visited, span.MsoHyperlinkFollowed
{mso-style-priority:99;
color:purple;
text-decoration:underline;}
span.EmailStyle17
{mso-style-type:personal-compose;
font-family:"Calibri","sans-serif";
color:windowtext;}
.MsoChpDefault
{mso-style-type:export-only;}
@page WordSection1
{size:612.0pt 792.0pt;
margin:70.85pt 70.85pt 70.85pt 70.85pt;}
div.WordSection1
{page:WordSection1;}
--></style><!--[if gte mso 9]><xml>
<o:shapedefaults v:ext="edit" spidmax="1026" />
</xml><![endif]--><!--[if gte mso 9]><xml>
<o:shapelayout v:ext="edit">
<o:idmap v:ext="edit" data="1" />
</o:shapelayout></xml><![endif]--></head><body lang=FR link=blue vlink=purple><div class=WordSection1><p class=MsoNormal><span lang=EN-US style='font-family:"Cambria","serif"'>For Paul Siskind,<o:p></o:p></span></p><p class=MsoNormal style='text-indent:35.4pt'><span lang=EN-US style='font-family:"Cambria","serif"'>I'm very much in agreement with your May 6 posting that there is no normal usage of syntax in music except within a given style like the common-practice period. Note that when I wrote that TST is similar but contrary to the "ursatz", TDT, it wasn't meant to be disparaging. In fact, I felt like mentioning the blues grill as a typical example of backwards root movement, but I think everyone will agree that these postings shouldn't be too long. So you've given me an excuse to mention that T S T D S T is the contrary of the typical common practice T D T S D T but is none the worse for that! Perhaps "backward root movement" has disparaging implications as well, but not as bad as talking about progressions and regressions! Maybe we should say Forward and reverse, like driving a car.<o:p></o:p></span></p><p class=MsoNormal style='text-indent:35.4pt'><span lang=EN-US style='font-family:"Cambria","serif"'>Perhaps some of you are familiar with Bach's Cantata 150, <b><i>Nach dir, Herr, Verlanget Mich.</i></b> To the words "Leite mich in deiner Wahrheit", there is a beautiful reverse root movement: Bm, F#m, A, Em, Bm, F#, followed zigzag by Bm < F#m < Em6 > F#m < GM7 > Em > F#, indeed a beautiful poetic effect!<o:p></o:p></span></p><p class=MsoNormal style='text-indent:35.4pt'><span lang=EN-US style='font-family:"Cambria","serif"'>I teach root movement to piano students by having them link arpeggios TDT, TST, TSDT and TDST. I keep common notes in the same position using inversions. For example, in F: F A C is followed by E G C or F Bb D. If the arpeggio is in the right hand, the left plays block chords or an accompanying figure, and then the hands are reversed.<o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-family:"Cambria","serif"'><a href="http://bruce.grant.pagesperso-orange.fr/1.%20Primary%20Chords.pdf">http://bruce.grant.pagesperso-orange.fr/1.%20Primary%20Chords.pdf</a><o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-family:"Cambria","serif"'>The exercise is not tied to a particular style, and forward progression is not privileged. In fact, it seems to me that the best way to teach root movement is at the piano, even for non pianists. Few students are capable of hearing in their heads written exercises. If they have already explored root movements at the piano they can relate them to written exercises better.<o:p></o:p></span></p><p class=MsoNormal style='text-indent:35.4pt'><span style='font-family:"Cambria","serif"'>Bruce<o:p></o:p></span></p><p class=MsoNormal><span style='font-family:"Cambria","serif"'> </span><span style='font-family:"Cambria","serif"'>Bruce Grant, DM, Indiana University,<o:p></o:p></span></p><p class=MsoNormal><span style='font-family:"Cambria","serif"'>Chef d’orchestre et chef des chœurs,<o:p></o:p></span></p><p class=MsoNormal><span style='font-family:"Cambria","serif"'>Théâtre de l’opérette de Lyon, France</span><span style='font-family:"Cambria","serif"'><o:p></o:p></span></p><p class=MsoNormal><span style='font-family:"Cambria","serif"'><o:p> </o:p></span></p><p class=MsoNormal><o:p> </o:p></p></div></body></html>