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
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
