<html><body><div style="color:#000; background-color:#fff; font-family:verdana, helvetica, sans-serif;font-size:12pt"><div><span>Dear Richard and the List,</span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span><br></span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span>in support of guitarists-theorists, I have to suggest something simple and feasible. Let us include exercises in harmonization or fb realization for guitar into our textbooks and teaching materials. Simply, ask students to write a four-part texture for guitar, on one staff. </span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span><br></span></div><div style="color:
rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span>On the side note, guitarists love the sound of the 6/4 chord as such. All our screaming about invalid use of 6/4 chord hits the brick wall, since on guitar the two open lower strings form a p4. I have been thinking about how to avoid this, or, paradoxically, how to give it a positive spin.</span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span><br></span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span>Since the guitar is the instrument of preference for wide circles of musicians in the USA, we have to implement teaching voice leading and chord structure principles related to guitar applicature. This
will make our textbooks different from some older European ones, centered around piano as the instrument of the third class (according to Max Weber)...</span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span><br></span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span>Best wishes,</span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span><br></span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span>Ildar Khannanov </span></div><div class="yahoo_quoted" style="display: block;"> <div style="font-family: verdana, helvetica,
sans-serif; font-size: 12pt;"> <div style="font-family: HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif; font-size: 12pt;"> <div dir="ltr"> <font face="Arial" size="2"> On Monday, May 5, 2014 9:05 PM, Richard Cohn <richard.cohn@yale.edu> wrote:<br> </font> </div> <div class="y_msg_container"><div id="yiv2070616860"><div dir="ltr">Prof. Jablonsky is painting with an uncomfortably broad brush here. Some of the best music theorists I know have guitar as a primary instrument, and some of the most accomplished music theory teachers I've encountered teach from the guitar (and fumble at the piano). I'm tempted to name names, but don't want to exclude anyone who belongs on the list of theorist/guitarists, and so I'll just leave this assertion unsupported. Their colleagues, and especially their students, know who they are. <div>
<br></div><div>There is a way around it, and it's called human ingenuity.<br><div><br></div><div>--Rick Cohn<br><div><div><div><br><div class="yiv2070616860gmail_extra"><div class="yiv2070616860gmail_quote"><blockquote class="yiv2070616860gmail_quote" style="margin: 0px 0px 0px 0.8ex; padding-left: 1ex; border-left-color: rgb(204, 204, 204); border-left-width: 1px; border-left-style: solid;">
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Message: 3<br>
Date: Mon, 05 May 2014 18:47:59 -0400<br>
From: Stephen Jablonsky <<a href="mailto:jablonsky@optimum.net" target="_blank" rel="nofollow" ymailto="mailto:jablonsky@optimum.net">jablonsky@optimum.net</a>><br>
To: Donna Doyle <<a href="mailto:donnadoyle@att.net" target="_blank" rel="nofollow" ymailto="mailto:donnadoyle@att.net">donnadoyle@att.net</a>><br>
Cc: "<<a href="mailto:smt-talk@lists.societymusictheory.org" target="_blank" rel="nofollow" ymailto="mailto:smt-talk@lists.societymusictheory.org">smt-talk@lists.societymusictheory.org</a>>"<br>
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Subject: Re: [Smt-talk] Keyboards for theory classes?<br>
Message-ID: <<a href="mailto:EFA0C9C5-25CD-45B6-8696-B4F96585FEF9@optimum.net" target="_blank" rel="nofollow" ymailto="mailto:EFA0C9C5-25CD-45B6-8696-B4F96585FEF9@optimum.net">EFA0C9C5-25CD-45B6-8696-B4F96585FEF9@optimum.net</a>><br>
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Guitarists are just ahead of drummers in their inability to comfortably deal with the challenges of traditional music theory. There is no way around it?you have to have keyboard chops. I remember Dizzy telling Miles he would better understand harmony if he got some pianbo skills under his belt.<br>
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<br>
Dr. Stephen Jablonsky, Ph.D.<br>
Music Department Chair<br>
The City College of New York<br>
Shepard Hall Room 72<br>
New York NY 10031<br>
<a href="" rel="nofollow">(212) 650-7663</a><br>
<a href="mailto:music@ccny.cuny.edu" target="_blank" rel="nofollow" ymailto="mailto:music@ccny.cuny.edu">music@ccny.cuny.edu</a><br>
<br>
America's Greatest Chair<br>
in the low-priced field<br>
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