There are a couple of ways to do this.
Some, like Don Sebesky, suggest glissing on the RESOLUTION harmony,
rather than the PRE-resolution harmony. He would use an Eb6/9 chord,
with pedalling set (in order) D#,Cn,Bb,Eb,Fn,Gn,A#.
If you want a Bb7 chord, then you want Dn,Cn,Bb,E#,Fn,G#,Ab.
If you want a scale gliss, then the pedal settings are taken care of
by the key signature, (Dn,Cn,Bb,Eb,Fn,Gn,Ab) which I assume is three
flats, so you don't have to mark anything at all except starting and
ending notes and the gliss itself.
I'm not sure that the words "Bb7 gliss" communicates anything useful
to the harpist that the pedal markings would not, though some
harpists can read chord symbols, and that would be placed above the
first note of the gliss.
Christopher
On 29-Oct-07, at 5:50 PM, Richard Huggins wrote:
Well, it was a hypothethical question, but good point. Let's say it
was the key of Eb, but we're on the bridge, and at the bridge's end
there's a Bb7 chord back to part 1, which will start on an Eb
chord. Between the lines you seem to be saying call it whatever the
underlying harmony is. Eh? (Personally I usually use a chord gliss
at these points, not a scale gliss, so I call it whatever the chord
actually is.)
--Richard
On Oct 29, 2007, at 4:04 PM, Darcy James Argue wrote:
What is the underlying harmony? Eb or Bb7?
Cheers,
- Darcy
-----
[EMAIL PROTECTED]
Brooklyn, NY
On 29 Oct 2007, at 4:23 PM, Richard Huggins wrote:
If someone who knows would settle this for me, I'd appreciate it.
In, for example, the key of Eb and writing a gliss starting on Bb
and ending on Bb (essentially a Bb7 scale gliss), and where
written descriptions are being used alongside harp diagrams
(client's wishes), would the proper description be "Eb gliss" or
"Bb7 gliss"?
--Richard
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