<html><head><meta http-equiv=Content-Type content="text/html; charset=utf-8"><META name="Author" content="Novell GroupWise WebAccess"></head><body style='font-family: Helvetica, Arial, sans-serif; font-size: 13px; '><div>It's always seemed to me that the daily involvement with harmony and counterpoint had by pianists and guitarists tends to give them an edge in theory, ear training, and composition studies, while the biggest pedagogical challenge is convincing all of the others that they need to compensate. Glad to hear that these keyboard-oriented theory sequences are achieving such great results – invoking the tactile, visual, and aural modalities, as well as the imagination, all in real time, must make the difference.</div><br><div>Jim Sobaskie<br><div><br><br><br/><div style='clear: both;'><div><p style="margin: 0px; font-size: 16px; font-family: 'Times New Roman'; "></p><p style="margin: 0px; "><font face="Times New Roman, serif">James William Sobaskie, Ph.D.</font></p><p style="margin: 0px; "><font face="Times New Roman, serif">Book Reviews Editor, <i>Nineteenth-Century Music Review</i></font></p><p style="margin: 0px; "><font face="Times New Roman, serif">Associate Professor, </font><span style="font-family: 'Times New Roman', serif; ">Music Theory Coordinator</span></p><p style="margin: 0px; "><font face="Times New Roman, serif">Department of Music</font></p><p style="margin: 0px; "><font face="Times New Roman, serif">Mississippi State University</font></p><p style="margin: 0px; "><font face="Times New Roman, serif">P.O. Box 6240</font></p><p style="margin: 0px; "><font face="Times New Roman, serif">Mississippi State, MS 39762</font></p><p style="margin: 0px; "><font face="Times New Roman, serif">USA</font></p><p style="margin: 0px; min-height: 18px; "><font face="Times New Roman, serif"><br></font></p><p style="margin: 0px; "><span style="font-family: 'Times New Roman', serif;">662.325.2871</span></p><p style="margin: 0px; "><font face="Times New Roman, serif">jsobaskie@colled.msstate.edu</font></p><p style="margin: 0px; color: rgb(4, 46, 238); "><span style="text-decoration: underline; "><a href="http://music.msstate.edu/faculty/staff.php?id=js1112"><font face="Times New Roman, serif">http://music.msstate.edu/faculty/staff.php?id=js1112</font></a></span></p><p style="margin: 0px; color: rgb(4, 46, 238); "><span style="text-decoration: underline; "><a href="http://js1112.colled.msstate.edu/JamesSobaskie.pdf"><font face="Times New Roman, serif">http://js1112.colled.msstate.edu/JamesSobaskie.pdf</font></a></span></p><p style="margin: 0px; color: rgb(4, 46, 238); "><a href="http://journals.cambridge.org/action/displayMoreInfo?jid=NCM&type=eb"><font face="Times New Roman, serif">http://journals.cambridge.org/action/displayMoreInfo?jid=NCM&type=eb</font></a></p><p></p></div></div><br/>>>> Richard Cohn <richard.cohn@yale.edu> 05/06/14 8:16 AM >>><br><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><br><div>--Rick Cohn<br><div><div><div><br><div class="gmail_extra"><div class="gmail_quote"><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left-width:1px;border-left-color:rgb(204,204,204);border-left-style:solid;padding-left:1ex"> <br></blockquote></div></div></div></div></div></div></div></div> </div></body></html>