<head><style>body{font-size:10pt;font-family:arial,sans-serif;background-color:#ffffff;color:black;}p{margin:0px;}</style></head><body><font color="#000000"><font size="2"><font face="arial,sans-serif"><br></font></font></font><style>body{font-size:10pt;font-family:arial,sans-serif;background-color:#ffffff;color:black;}p{margin:0px;}</style><font size="2">Dear list,</font><blockquote style="PADDING-LEFT: 5px; MARGIN-LEFT: 0px; BORDER-LEFT: #0000ff 2px solid"><mwmorse@bell.net><smt-talk@societymusictheory.org><zzzhtml><zzzbody class="hmmessage"><div dir="ltr"><div><div dir="ltr">
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</zzzhtml></smt-talk@societymusictheory.org></mwmorse@bell.net></blockquote><div><br></div><div><font size="2">Having just had enough time to read or reread recent posts, I am prompted to combine the recent threads about absence of lead sheets and expressions (some of them humorous yet thought provoking) on algorithms.</font></div><div><font size="2"><br></font></div><div><font size="2">Several posts talked about the absence or presence of lead sheet symbols in texts and a couple talked about how good it would be if more texts adopted the practice as a step along the way to identifying functions. </font></div><div><font size="2">I expected immediate contrary responses from some of the stalwarts on the list who allow me to sit back and read instead of writing, one of them surely having written something with which I more or less completely agree.</font></div><div><font size="2"><br></font></div><div><font size="2">Unless I missed something, this time there were no posts with a contrary view.</font></div><div><font size="2"><br></font></div><div><font size="2">My students are not allowed to put lead sheet symbols or the letter names of notes on papers or assignments where A) the notation of the piece is present and B) the piece being analyzed is a tonal piece devoid of "non functional harmonies".</font></div><div><font size="2">The practice of putting in the letter names of notes (messing up a score the student is analyzing) is something I tell my students is trying to run a low IQ approach really fast to approximate a result which could be done another way more powerfully. It gets in the way of a student's progress towards a near instantaneous recognition</font></div><div><font size="2">of groups of notes as functions and semi or subconscious memory of voicing norms.</font></div><div><font size="2">The basic problems for me with the lead sheet symbols in this context are that, as identifiers of presence (rather than function) they mostly don't tell students anything that the little black dots don't already already indicate and that, as one is trying to guide the student through the evolution of musical materials and one is introducing the concept of non functional harmonies entering into practice (like Chopin Mazurkas where a short passage of non functional harmonies nicely demonstrates the substitution of process for functional identity), allowing lead sheet symbols would obscure which was which.</font></div><div><font size="2"><br></font></div><div><font size="2">Similarly,</font></div><div><font size="2"><br></font></div><div><font size="2">An example of a twofold problem - Consider the following -</font></div><div><font size="2"><br></font></div><div><font size="2">Speaking of a Gr 6th in D minor, a post on the absence of lead sheet thread has:</font></div><div><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; "><br></span></div><div><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; ">"In lead sheet notation we indicate that chord in Dm as Bb7. ...</span><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; ">The number is vii#6/V</span><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; ">"</span></div><div><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; "><br></span></div><div><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; ">Students taught that the augmented sixth group is a grouping of scale tendencies including a chromatic indicator, easily learn the group and the diatonically responsible </span><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;">progression use of each by using movable Do in what I consider one of its most advantageous uses ( e.g. le-do-me-fi for Gr ). That this approach is appropriate is substantiated by the fact that the symbol </span></font><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; ">Gr 6th</span><span style="font-size: 12px; font-family: Geneva, Arial, Helvetica, sans-serif; "> remains unaltered regardless of the voicing/"inversion" of the collection.</span></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;"><br></span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;">Bb-d-f-G# with the identities of le-do-me-fi (directly diatonically responsible identities) is misrepresented as a Bb7 in a piece comprised entirely of diatonically responsible harmonies because the enharmonic phenomenon (whether spelled differently or not and correctly called a Bb7) is a sol-ti-re-fa collection (secondary authentic implier identity of V7/N). My being dedicated to teaching what I understand as the evolution of musical materials prompts me to teach that the application of Bb7 would be wrong in both cases because the first usage is not functionally a dominant seventh chord and the second usage is a secondary dominant and therefore a functional harmony.</span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;"><br></span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;">About the number being "</span></font><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; ">vii#6/V", let me refrain from completely opening that can of (insert favorite unpleasant something) by simply saying that I agree with the simple Norton Grove Concise Dictionary entry which states that the chord is a submediant (or bVI) chord.</span></div><div><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; "><br></span></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;">Leaving it at that for the moment,</span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;"><br></span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;">Best Wishes,</span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;"><br></span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;">Paul Setziol</span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;">Musicianship Coordinator</span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;">De Anza College</span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;">Cupertino, California</span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;">USA</span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;"><br></span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;">setziolpaul@deanza.edu</span></font></div><div><font face="Geneva, Arial, Helvetica, sans-serif"><span style="font-size: 12px;"><br></span></font></div><div><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; "><br></span></div><div><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; "><br></span></div><div><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; "><br></span></div><div><span style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; "><br></span></div></body><pre>
"The costs of risk avoidance are freedom and innovation."
"The creation of risk elimination is of a police state" from USA National Public Radio interview - author sought
"Leap before you look" Leroy Setziol
"Better sorry than safe" Leroy Setziol
It's interesting to note that the sufficiency of enlightened self interest is espoused by those who need someone else to tell them what that is in actual cases - paraphrase of Jonathan Swift</pre>