The harmony in the popular music.

 

Introduction.

 

 

As in the Renaissance, Baroque and later music, the composers and arrangers today have tried to find a system of harmonic notation that allows the musician to move with relative ease within the sound field, improvise melodies within that harmonic base, recreate new chords and tensions, and thus give greater freedom and spontaneity to the interpreter.

From the mathematical point of view, the identical execution possibilities of the same cipher score in the hands of different interpreters are practically equal to zero. Such is the degree of improvisation and creativity that it allows. Each performer puts his experience, his trade, his talent, and the sound result is always different even when the chords used are the same. There are not two totally identical human beings, and this principle is valid also in this field. Since the beginning of polyphony the entire vertical structure of music was determined by an encryption on which the instruments were superimposed.

 

Unfortunately, there are very few music schools that include popular encryption within their curricula and hence the need to organize in a book everything concerning this subject that, on the other hand, can -and that is our purpose- be studied thoroughly without the need of a teacher. Basically, it is not my system that we will study here, but the encryption method that up to now is recognized internationally and that we have all come to accept, without excluding, of course, our own analysis and points of view. My only merit would be to give a methodology and pedagogical organization in such a way that the student can, just without help, overcome the proposed objectives.

At least I am certain that you will not have the inconvenience and the headache I had when confronting me for the first time with an encrypted score.

 

                                                                                                                                                    Rolando Bueno Dalmau