The purpose of topline notation isn't for a solo guitar arrangement; it's for occasional measures throughout a part that are neither slashes/rhythmic notation, or melodic lines. It is a quick and clear indication of how to voice the chords, at that point. Strumming or comping don't require this notation. Yes, the George Shearing style is the exemplar.
On 26/11/2010, at 11:48 PM, David H. Bailey wrote: > On 11/25/2010 11:39 PM, John Howell wrote: >> At 10:19 PM -0500 11/25/10, David W. Fenton wrote: >>> >>> I can't quite figure out the purpose of this. Couldn't you just >>> notate the melody and the chords and add a rubric saying "keep >>> accompaniment below the melody"? >> >> Disclaimer: I'm not a jazz person, although I'm not ignorant of the style. >> >> I think the difference is that it's an instruction of a sort to >> harmonize the melody homphonically (or homorhythmically, if you prefer), >> rather than the kind of either counterpoint or comping that would >> otherwise be used. More of a George Shearing sound, is what I hear in my >> mind's ear, and I'd recognize the sound on guitar but I can't think of >> an exemplar. >> > > Charlie Byrd comes to mind as a sort of guitar counterpart to George > Shearing, as does Bucky Pizzarelli. > > > > -- > David H. Bailey > [email protected] > _______________________________________________ > Finale mailing list > [email protected] > http://lists.shsu.edu/mailman/listinfo/finale > > _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
