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 ______________________________________________________ Get your free web-based email at http://www.xoom.com Special clipart offer: http://orders.xoom.com/email