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barbarafranklin

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Reply with quote  #1 
Today I was perusing our Bach Chorale book (Riemenschneider) and came across a margin entry - "12-21-03 at Staples" and thought I'd relate the story behind that.

A friend & student of Ted's graciously offered Ted 2 COURT SIDE SEATS to a Laker game. Ted accepted the offer only because he knew how much that would mean to me. Of course I was ecstatic! We arrived at Staples that night, Ted carrying his usual wrinkled up market bag full of music books, papers, pens, mail etc. and set off the alarm when we walked in & had to empty everything out. The management at that time (post 9/11) didn't allow anything to be brought in but Ted protested so much they made an exception. We found our seats and as we waited for the game to begin Ted took out the Bach Chorale book and began analyzing Chorale #17, he did not stop when the game began. Somehow he was able to work & enjoy the game including catching an out of bounds ball! Any of you who have been to a Laker game will realize how amazing this is, especially sitting court side. A testimony to Ted's ability to concentrate.

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Barbara Franklin
bishopdm

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Reply with quote  #2 
Barbara:

Are any of Ted's Bach Chorale analyses available to share with all of us? I'd love to see them. When I was an assistant instructor at the University of Texas, I went through quite a few of them myself.

David


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David Bishop
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tedstafford

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Reply with quote  #3 
I second this request! I'm currently working through the chorales, analyzing them and transcribing them for guitar. I've totally been inspired by Ted's example and am trying hard to do the work myself. But, I love comparing my results to the chorale examples posted in the forums and would love to see how Ted analyzed the harmony.

ted stafford

ps Thank you, Barbara, for the ear training pages and the baroque harmony pages.


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music is the best
barbarafranklin

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Reply with quote  #4 
trying again

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Barbara Franklin
tedstafford

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Reply with quote  #5 
This page is WONDERFUL. Thanks, Barbara.

I'm surprised to see the chords identified with their letter names. I was expecting roman numerals and figured bass! Is there a reason?

Again, thank you...this will be a big help to me in my studies.

ted



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music is the best
bishopdm

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Reply with quote  #6 
Thanks, Barbara. This is really interesting!

David


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David Bishop
Tucson, AZ
barbarafranklin

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Reply with quote  #7 
Hi Ted,
After many years of studying traditional harmony and many times finding the figured bass overly complex, ambiguous and even inaccurate, Ted came up with his own "figured bass" or analysis. It was quite simple really, perhaps you can understand from the examples in the Bach Chorales. For instance, Chorale #1, 1st measure - the IV Chord "C" in first inversion, instead of IV6, Ted would write C/3, or when a line moved he would simply number the scale steps as in measure 6, D87 (octave, 7th) instead of D7 or V7. When a modulation occurred Ted would write, say, "V of new key" and continue. Actually sometimes Ted would use Roman Numerals instead of letter names.

His method was "unconventional" and probably would be scorned by "traditionalists" especially in regards to what he chose to name the chords. Ted felt his method gave a clearer assessment of what exactly was happening in the piece.

I will try to find & post some other examples. Barbara



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Barbara Franklin
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Reply with quote  #8 

Yeah! C/3 is a good way, especially on guitar, since a lot of chord shapes are used. It helps when I encounter a Ab/C -> Ab/3 . And the "V of the new key" also simplifies things a lot!

Thanks Barbara!

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