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We might thus, Mr. Kepler and the other Copernicans, take pride in having philosophized correctly, even if it resulted, and
will result again, on the part of the masses and the "in libris" philosophers, in being considered ignorant and almost insane.
(Letter from de Galileo to Julian de' Medici, 1611)
INTRODUCTION
It was ten years ago that I first met Mr. Conrad Letendre and became aware of his theories on harmony, counterpoint, and
fugue.
Honest folk will no doubt think that, fresh out of the woods and the "cours classique", justifiably filled with juvenile
enthousiasm, but with age, an abundance of science, and professional needs, it was high time to sit down and somewhat discount
this master.
Now, this is not the case... and this article will show that I easily relapse into exposing ideas which I consider valid
and into the merits of an unrecognized thinker.
To simply say that I remember the Letendre system would be well short of the truth: for the last ten years, I have never
for an instant stopped ploughing through these theories and, my future studies failed to diminish this capital which only
grew with each succeeding step.
Because at the beginning of my adhesion there was no sentimentality, no mysticism, or worse, vested interests. Like all
the others, I had previously been taught in standard textbooks; then, for more than the first year, I resisted the proofs
in the new system; overcome by such flawless logic, I eventually accepted this musical thought which has since brought me
both great pleasure as well as a fair share of defeats in my musical career.
It is clearly impossible, within the confines of this article, to describe in detail the improvements brought by the Letendre
system. At most I will try to locate it in the general musical landscape.
I - A fresh approach to music research
First, a glance at the essential difference which seems to exist between the Letendre path and that of other theoreticians.
Habitually, one always starts with a kind of historical and statistical study of the problems of music theory... i.e. the compiling of hundreds of examples
and principles from the "good" authors. This inevitably fails when in the end one attempts to wrap it up and draw a coherent and logical system from the pile of diverse facts which have been gleaned.
Each law has more exceptions than normal cases!
The inevitable pessimistic conclusion of these systems is always the same: art is incomprehensible; only inspiration counts;
everything changes; there is nothing but "music idioms" evolving somewhat like a fashion display...
Young composers have no choice but to reject this jumble, which forces them to reinvent all music, to commit a thousand errors and often to produce a series of monstrosities. We see by this chain of events that the new failings are the offspring of the old.
Mr. Letendre starts at the opposite end of this process and makes a rational study of the elements of music theory. Relying
on simple and clear premises (such as the dominant/tonic progression), he weighs each succeeding phenomenon and attemps to
reduce it to its essence.
In this manner he can build a system which is perfectly coherent, which can evaluate the works of authors, and choose suitable
examples. He therefore builds THE musical language - unique and necessary - from which will come all the worthwhile idioms to be found in music.
II - Main parameters of the Letendre system
1 - First (a minor item already adopted in most American music schools), all the work is done in the usual treble and bass
clefs, not, European style, in the old complex C clefs.
2 - The system admits the inversion of the diatonic major (with ascending scale from C to C') into the diatonic minor (with
descending scale from E' to E), representing two faces of music.
This concept is by no means new: the Greeks mention it and the great German theorist Hugo Riemann elaborated it in the XIXth
century. However only Mr. Letendre succeeded in overcoming certain difficulties and in giving it its total worth.
He then develops this basic hypothesis to its ultimate fabulous possibilities:
- elimination of all « exceptions » and « exceptional resolutions » of other textbooks;
- existence of ascending (sharpening) chords with an ascending sixth as motrix;
- possible inversion of melodies, chords, modulations, alterations, etc.
A complete half of music is suddenly explained and comes to life.
3 - Another relatively minor point (each new concept having its own new symbols), both this use of inversion and the need
of better harmonic analysis led Mr. Letendre to create completely new symbols, with the three folowing characteristics :
- invertible symbols;
- each note bearing its specific symbol;
- the complete chord seen as
a function rather than
a scale degree.
These symbols «on each note» are a wonderful process of ear training and draw attention on the tiniest harmonic phenomena.
4 - Mr. Letendre established a very clear distinction between chordal tones and non-chordal tones, which allows clear distinction between the essential and the accessory,
between the structural and the decorative. In this way one avoids errors such as placing the seventh and the ninth of the
dominant chord on the same footing.
The new symbols take these structural realities into account and perceive non-chordal tones as functions of chordal tones.
5 - As «true progressions» the system admits only those progressing by fifth. Everything else must be explained otherwise, with considerable gain in the process. For example, Mr. Letendre sees a process
of equivalence – generally accepted in modulations - even within the same key, which explains number of phenomena which are otherwise incomprehensible
(like the IV-V progression).
This new analysis, infinitely more rigorous and subtle than that of former treatises, no longer admits absurdities like
the VII-I progression!
6 - The student works almost uniquely on given melodies (rather than on given basses), which is far more logical, in better keeping with musical needs.
7 - The student must practice with exercise pages which, at first, solidly guide him with the symbols but eventually free him progressively. The teacher is perfectly free
to innovate within this plan and allow the students to «create» according to their possibilities of the moment.
8 - Mr. Letendre starts harmony with the dominant/tonic progression which he explores at length. He insists that the dominant
possess its seventh immediately so that the student clearly perceives the two chords involved. The consonant dominant chord
- more vague - comes later.
Conclusions
Briefly, the Letendre system contains several reforms that are not all centered on one solitary idea, but develop starting
from the basic theory to an applied pedagogy.
Several people have inquired on the strictly harmonic contents of the system. Mr. Letendre's exercises cover all that was
valid in traditional harmony and add considerable material which comes from inversion. Furthermore, it is an «open» system
which does not stop with the back cover of the book, but rather grows richer with all the work done by subsequent researchers
following the same path. Numerous fields are open to those who undertake this harmonic adventure.
Questions and Answers
I would now like to candidly examine the practical difficulties encountered by the existence of such research and especially
by its insertion in the normal course of teaching.
Many ask me : What is the material of the Letendre system?
There are almost 500 writing exercises composed by Mr. Letendre; these pages (with problems and solutions) allow a teacher to
give a complete harmony course spread over approximately 3 years.
We should specify that the pages alone - despite their intrinsic value - will not mean very much to anyone unaware of the
symbols and the principles of the system. This has not favored the propagation of the teaching and the need for a theory textbook
is increasingly acute. Mr. Letendre up to now, has not found time at attack this huge task, for reasons which I do not wish
to comment.
Having free time at my disposal last year, I decided to tackle the job and write this «harmony treatise» which was so often
requested. The result should appear soon : a collection of at least four books (of about a hundred pages each) called INITIATION
AUX STRUCTURES DE LA MUSIQUE PANTONALE (THE STRUCTURES OF PANTONAL MUSIC). I unequivocally declare that I present the system
as I see it personally and that it does not engage M. Letendre's responsibility for any heresies I might commit!
The non-existence of such a theory textbook has often been used to refuse all serious examination of Mr.Letendre's system.
This argument thus no longer holds.
Another question : How can this system tie in with previous studies?
Let us say that any student who reads music well and knows basic theory can undertake study of the system without undue
difficulty.
Those who have already seen harmony in conventional textbooks must expect the reforms specified above. For a normal student,
it is unthinkable to jump over one of the years in the Letendre system. Even for the overly-gifted, it is very difficult to
compress the knowledge of a whole year in less time: there is certainly risk of indigestion!
I must however note that Mr. Michel Perrault has invented a remarkable pedagogical game permitting young children to become
rapidly conscious of the system. We have great hopes for this brilliant innovation.
And now, the opposite problem : How does the system lead into more advanced studies?
How often have I heard this criticism : «Letendre's harmony does not lead to anything»? Most of the time from those who
had done everything to make it thus...
Stuidents are often placed in the very painful situation of following a great harmony course which was not recognized by
the powers that be. Other problems arose when it was required to pass to the traditional teaching of counterpoint and fugue.
Previously there was very little in the way of solution to this problem, but now l'Université du Québec (at Trois-Rivières)
seems willing to give the Letendre system a fair chance which it never previously had. Students wanting to follow this path
may now do so in all peace of mind.
As far as writing is concerned, it is fair to say that the Letendre system leads awkwardly to the old counterpoint and the
old fugue; but it leads very well to a renewed counterpoint and to a rejuvenated fugue in its image. Such classes exist and
are already given.
The bottom line...
In this article, I wished to frankly present the joys and the difficulties that came with the study of this unique and wonderful
harmonic system.
I have not the slightest intention of selling under pressure; I simply found in the Letendre system a just mean - which
many seek today - between sterile conservatism and farfetched avant-gardism.
Jean Chatillon, Le cas Letendre
Musique Vivante (14 décembre 1969)
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