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Your harmony book sets a high bar for obscurity! I'm sure many of us with an interest in harmony would like to know more - please tell us something about it. A

by cannam 7y ago

Your harmony book sets a high bar for obscurity! I'm sure many of us with an interest in harmony would like to know more - please tell us something about it. A book I am very fond of that I don't think is widely known (though it's not in the same league as your suggestion) is "Resisting the Virtual Life", a 1995 collection of essays on the theme of cyber-wariness published by Lawrence Ferlinghetti's City Lights imprint - more often associated with poetry. Also very obscure for a long time, though easily bought now: Mervyn Peake's self-illustrated children's book "Captain Slaughterboard Drops Anchor". From the author of Gormenghast, but frankly much better. Highly recommended.

bogoman 7y ago
Yizhak Sadai, formerly head of the Academy of Music in Tel Aviv, was a brilliant teacher and philosopher. Many of the best musicians in Israel studied with him at some point during their career, even if for a brief period of time (As a recent example: Tom Oren, winner of the last Thelonious Monk Piano Competition, was his student for a year or so). I had the privilege to study with him for a year, and this book used to accompany our lessons. The book is a thorough explanation of western harmony in its very basic aspects, from first principles. It also includes criticism of other, more famous music theory books, which is very interesting. One thing I love about it is how every theoretical concept comes first from what is perceived (hence "phenomenological"). A brief example of that is how some chords, which look like dominant chords if you look only on their notes, are sometime subdominant chords, because of the context in which they are played. Some quotes: On the approach of the book: "The conventional analytic approach as taught in academies is based primarily upon the depiction of the WRITTEN content of a composition by means of symbols and concepts inherent to the accepted analytic code. This analysis however, which describes mainly what is SEEN, does not always succeed in describing what is HEARD - the perceptual musical essence" His definition of tonality which I loved so much that I had to memorise it: "Tonality constitutes the organisation of a given number of tones in a manner which creates among them differences of kinetic potential."

by cannam 7y ago

bogoman 7y ago

Yizhak Sadai, formerly head of the Academy of Music in Tel Aviv, was a brilliant teacher and philosopher. Many of the best musicians in Israel studied with him at some point during their career, even if for a brief period of time (As a recent example: Tom Oren, winner of the last Thelonious Monk Piano Competition, was his student for a year or so). I had the privilege to study with him for a year, and this book used to accompany our lessons. The book is a thorough explanation of western harmony in its very basic aspects, from first principles. It also includes criticism of other, more famous music theory books, which is very interesting. One thing I love about it is how every theoretical concept comes first from what is perceived (hence "phenomenological"). A brief example of that is how some chords, which look like dominant chords if you look only on their notes, are sometime subdominant chords, because of the context in which they are played. Some quotes: On the approach of the book: "The conventional analytic approach as taught in academies is based primarily upon the depiction of the WRITTEN content of a composition by means of symbols and concepts inherent to the accepted analytic code. This analysis however, which describes mainly what is SEEN, does not always succeed in describing what is HEARD - the perceptual musical essence" His definition of tonality which I loved so much that I had to memorise it: "Tonality constitutes the organisation of a given number of tones in a manner which creates among them differences of kinetic potential."