Leadsheet notation is the new Basso Continuo
History is not so far away – this occurs in music and everywhere else. Likewise, the practise of Basso Continuo is not as far away as it seems. First of all an introduction: In the music of the baroque era we encounter a stave where bass notes are written. Below these, there are written numbers, mostly one, sometimes two or three, and sometimes none of these numbers are present. So what does that mean? Well, the numbers symbolize intervals based on the written note. If there is no number, we use the normal case: A regular chord consisting of Ist, 3rd and 5th. But does that mean minor or major chords? Well, it depends upon the key. Just use the third and fifth without changing any accidentals.
So an instrumentalist has to keep the key in mind, because he has to decide whether to play a minor or a major chord. As the focus on key isn’t that important anymore in modern music, the leadsheet notation takes these thoughts away from the musicians, and indicates whether it’s a major or minor chord. As most guitarists remember certain chords and chord shapes, rather than building them of thirds like keyboarders, it is necessary to know that without any kind of doubt: the bass note is written as letter, that is quite clear, but unfortunately there are several possibilities to mark whether minor or major, which are frequently misused: Capitals for major chords, minuscles for minor chords. People who have some knowledge about music theory know that convention. But in popular music (sorry for using that stupid, misused term!) most times a minor Chord is marked like that:
Gm
It is simply easier to identificate in handwriting. Also, it is convention around the web.
So far, this is not a flexible way that would allow voicing. An important way to characterize music is by its highest and lowest voices. The highest voice (melody) has to be known at least by the singer, the lowest voice obviously by the bassist. But that is not the whole truth. Also guitarists and keyboarders can add root notes and bass runs to their chords. This improves the experience of sound by far. Chord and root note are graphically separated by a slash, for example
C/G
The chord always comes first.
As many people (not only guitarists) would have problems if they were told to play a C 4 6 chord, this is the way to get that sound. This example C/G tells exactly that, without the necessity to know or calculate intervals. These slashed chords are used if the root note should be different than the expected note, usually the root note of the chord. So, when using chords with the regular root, no slash is required.
Of course, numbers are used to specify intervals like 7, 9, 6, as in basso continuo. If sus4 or sus2 are written, it is obvious, that the fourth or second should be led downwards to the third, or the root. The term suspended means exactly that.
Some musicians or musicologists might note that basso continuo meant following the traditional rules of voicing, like no parallel fifths or eights, preparation of dissonances, counter movement and so on. They might say that playing from leadsheet notation is much more primitive, because often excessive parallels occur. My point against that argument is the following: No experienced, skilled musician would take excessively use of parallel fifths and eights, simply because it does not sound very well, and takes away brilliance from music. Beginners in the 17th century as those of today might have used the same frequency of parallels. It depends upon the practise.
What is taught today as Basso Continuo or counterpoint is surely of a high stilistic level, simply because no teacher would use examples of low quality, and most unimportant, inferior examples have been forgotten. These examples must certainly have existed, because there have always been musicians of various skills.
So I can not consider the ancient Basso Continuo a nobler practise than playing from leadsheets today.
Playing from leadsheets is just the contemporary form of Basso Continuo.
~T.
