Mark Molnar wrote:
 > >
 > >Ted Boucher wrote:
 > >
 > >> ... when you work with verse, you find that the more
complex a
 > >> meter is the less  room  you have for melodic variation
...
 > >>
 >
 >
 > upon reading this, i would have to entirely disagree, but
i am very open
 > to some explanation as to what you mean by this. i think
it is a topic
 > worth discussing.
 >
 > warmth,
 >
 > m
 
 
Mark,
 
I have posted some other thoughts on this to the group that
address this point, but here are some more thoughts that
address your comment--
 
 
 Max Roach, whose "new" drumming style defined Bebop, was
often described as a melodic drummer--the idea being that the
underlying rhythm of the melody to a song is often so clear
and compelling that the pitches are not necessary to  convey
the song.
 
We used to play a game as kids--we would tap out the rhythm
to a song on someones back, and they would guess the song--
 
When the  rhythm of a verse, over the course of the song, is
so compelling as to define the song,  it is very difficult
for any series of notes that you write over that sequence to
be anything else but some variation of that song.
 
The thing is, for many songs, that underlying rhythm makes
certain kinds of tone modulations sound better, and certain
other kinds of tone modulations sound worse--the more complex
the rhythmic idea, the more likely it is that there is one
series of tone modulations that works better than all the
others.
 
 
 
 
 
Ted
 
 
 
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