So here we are in 2011, and it turns out that the common practice major-minor tonality has truly been and gone, but tonality in a variety of other permutations rages on. For a while there in the second half of the twentieth century we were (albeit reluctantly) buying into the notion that music had moved ‘beyond’ tonality. It’s also about the state of play of musical style and music history. And of course we think it’s important – it’s how so much music we’ve spent our time playing is notated. My generation is now just getting into its 40s, and most of us have grown up fluent with this notation. For other teachers, however, playing from a chord chart has always been a part of their pianistic experience, albeit outside their official piano lessons. For some teachers that might mean that since 2000 they have put in the effort to learn how to play chord symbols and how to interpret the nuances of the different chord indications. I think piano teachers know how to do this because piano teachers think it’s important. So piano teachers don’t need to know this in order to prepare students for exams.Īnd neither do piano teachers need to demonstrate a capacity to read a chord chart in the process of gaining a teaching diploma, membership of a teaching association or certification from a professional body. Piano exams still have no compulsory chord chart reading component (beyond maybe a perfect cadence in a sight reading exercise) apart from the niche ABRSM Jazz Piano exams, and while theory exams now allow chord symbols as answers a knowledge of chord symbols is not compulsory. No one is telling piano teachers they should acquire this skill, at least no one in a professional sense. Eleven years on and that percentage has almost flipped: I estimate at least 75% of piano teachers these days tell me they are perfectly comfortable reading a chord chart, and up to 99% say they understand what the chord symbols mean (even if they wouldn’t be comfortable performing from a chart). In 2000 I started presenting professional development seminars for piano teachers and when I would ask “who can read a chord chart?” maybe 10% of the teachers at the seminar might put up their hands. Needless to say I found the fuss rather ridiculous and just wanted to get on with making music. To be fluent reading a ‘chart’ while also being able to play the Pathetique seemed to be about as musically transgressive as it was possible to be. degree and I could still read a chord chart. It shook the foundations of many a musician’s world that I had a B.Mus. Piano & Vocal Digital Sheet Music for "And All That Jazz" by Kander & Ebb Real Book – Melody, Lyrics & Chords Digital Sheet Music for "And All That Jazz (from Chicago) (High Voice)" by Kander & Ebb Piano & Vocal Digital Sheet Music for "And All That Jazz" by Kander & Ebb Easy Piano Digital Sheet Music for "And All That Jazz" by Kander & Ebb Piano Duet Digital Sheet Music for "And All That Jazz" by Fred Kern Real Book – Melody & Chords Digital Sheet Music for "And All That Jazz" by John Kander Piano & Vocal Digital Sheet Music for "And All That Jazz" by Liza Minnelli Piano Solo Digital Sheet Music for "And All That Jazz" by Kander & Ebb Lead Sheet / Fake Book Digital Sheet Music for "And All That Jazz" by Kander & Ebb Lead Sheet / Fake Book Digital Sheet Music for "And All That Jazz" by Fred Ebb E-Z Play Today Digital Sheet Music for "And All That Jazz (from Chicago)" by Kander & Ebb SATB Choir Digital Sheet Music for "And All That Jazz (from Chicago) (arr.A cliché I used to find myself confronting as a young musician in the mid-late 80s and the 90s was the idea that the world of pianists divides into the classically trained and those who can read chord charts. Shop Other Arrangements of "And All That Jazz"
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