( this post has not been written completely yet).
1) INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF CHORDS-MELODY
We are usually we are accustomed, to have in improvisation but in composed music too, chords as a center of simplicity in lower octaves that accompany a more complicated melody in higher octaves. This relation may be unversed! In other words a melody in higher octaves (5,6,7) may be a simple repetitive melody thus a center of simplicity, while chord changes in lower octaves (3,4) , compatible with this melody can be the center of complexity. To have the same melody
IN HARP THE CORRESPONDING EXAMPLE IS EDGAR CASTANEDA
2) INVERSE PITCH RELATION OF CHORDS IN HIGHER OCTAVES ANS MELODY IN LOWER OCTAVES .
Usually we are accustomed, to have in improvisation but in composed music too, chords in lower octaves that accompany a more complicated melody in higher octaves.
This relation can be reversed for good reasons: The chords are perceived by the musical listening easier and mote clear in higher octaves (e.g. 5,6) than in lower (1,2). Therefore there is a good reason in improvisational music in piano and harp to play the chords and chord changes in higher octaves and the melody in lower octaves.
3) Finally we may combine the inverse simplicity-complexity relation of chords-melody as in 1) with the inverse pitch-relation as in 2) to create a monotonous repetitive slap-melody in piano or harp in lower octaves that usually covers all the notes of the diatonic scale parallel to chord changes in the higher octaves so that all the chords are compatible with the same bass repetitive melody.
1) INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF CHORDS-MELODY
We are usually we are accustomed, to have in improvisation but in composed music too, chords as a center of simplicity in lower octaves that accompany a more complicated melody in higher octaves. This relation may be unversed! In other words a melody in higher octaves (5,6,7) may be a simple repetitive melody thus a center of simplicity, while chord changes in lower octaves (3,4) , compatible with this melody can be the center of complexity. To have the same melody
IN HARP THE CORRESPONDING EXAMPLE IS EDGAR CASTANEDA
2) INVERSE PITCH RELATION OF CHORDS IN HIGHER OCTAVES ANS MELODY IN LOWER OCTAVES .
Usually we are accustomed, to have in improvisation but in composed music too, chords in lower octaves that accompany a more complicated melody in higher octaves.
This relation can be reversed for good reasons: The chords are perceived by the musical listening easier and mote clear in higher octaves (e.g. 5,6) than in lower (1,2). Therefore there is a good reason in improvisational music in piano and harp to play the chords and chord changes in higher octaves and the melody in lower octaves.
3) Finally we may combine the inverse simplicity-complexity relation of chords-melody as in 1) with the inverse pitch-relation as in 2) to create a monotonous repetitive slap-melody in piano or harp in lower octaves that usually covers all the notes of the diatonic scale parallel to chord changes in the higher octaves so that all the chords are compatible with the same bass repetitive melody.
