On Tue, 15 Apr 2008 16:54:55 +0000, Steve Latham wrote:
> "David Raleigh Arnold" <darnold4@[EMAIL PROTECTED]
> wrote in message
> news:pan.2008.04.15.03.11.06@[EMAIL PROTECTED]
.
>>
>> Is every theory book you've ever seen for pianists, or for musicians in
>> general?
>
> Some are.
>
> The answer is that the writers of theory books expect
>> all musicians to be pianists.
>
> That's not true at all. They expect people to understand how to read
> music from a grand staff, and in other clefs, and usually how to work
> with transposing instruments. It so happens that Piano is an ideal
> instrument
not quite. It's lack of ability to end notes precisely makes the
ends of its notes lack humanity.
> for realizing things like
Nothing is like four part harmony, but there are only two practical
choices in polyphonic instruments until that subject would arise, and I
intend to exploit both of them.
> four part harmony
I'm not going there at all. A taste of species counterpoint, yes,
but not another "common practice" harmony text. There are plenty of them
now.
> because it's hard
> to play four notes at a time on Saxophone! However, playing piano is
> not a pre-requisite, only a nice skill to have.
It is not the only choice. The organ is probably better for four
part harmony, and a harp with enough keys or piano accordion is fine, but
I refer to piano score or guitar staff because that's what most people
have.
Of course the optimum situation *could* be four singers studying
together, but how practical is that?
> How can I accommodate both without
>> "jumping back and forth"? I can't in the first 4 chapters, where the
>> entire purpose is to get the student to fill some blank pages with
>> readable notation.
>
> Don't address to guitarists or pianists. Simply address it in "music"
> terms - here's the Treble Clef, and here are the notes on the Treble
> clef. If you then want to add the types of instruments that commonly
> read treble clef, and then times when treble clef might be transposed
> (like for Guitar, or Tenor Voice), etc. then add that on as an aside.
That's extreme. There will be polyphony. I will apply that suggestion
but I don't want to become too abstract in the process of becoming more
general.
I'm addressing that by compiling everything in duplicate on a three stave
system. It's no trouble now that I've got it set up, and it will be a
convenience for all, especially when it comes time to transpose. As you
know, I will do that after major scales but before the modal
system or the minor mess.
>> Do you know of any piano method on line in the public domain which I
>> can legally explode like the Carcassi? I asked this over in the piano
>> ng too. It would help a lot. daveA
>
> Well, I'm sure there are some, just not something I've ever looked into.
> Maybe others will have some suggestions.
The silence is remarkable. I'm beginning to believe that there are none.
Amazing.
BTW, were you acquainted with the centering rules which have fallen
by the wayside? My first book had centered rests, and then it was
explained to me by professionals, Ross book in hand, (the out of print
one) why that was wrong, and finally looking at old music showed me
that Ross was wrong.
I was taught that there were no dotted rests, and if you look at
old music you find that to be true, but then when you look at even
older music, there they are!
I used to think that using a whole rest in 3/4 was a bad idea. It was
simply a shortcut that outlived its usefulness. But if *and only if* it
is centered, it's a good idea, because the centering helps to identify
it as a whole measure rest. Notice that dotted notes are not centered.
(Carcassi book pp17-19.) It's Boije, Carcassi, Op. 59.
Regards, and thank you. daveA
--
email: darnold4@[EMAIL PROTECTED]
(put "poisonal" anywhere in subject)
DGT: The very best technical exercises for all guitarists:
http://www.openguitar.com/dynamic.html.
Original easy solos at:
http://www.openguitar.com.
:::=={_o) David Raleigh Arnold
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