|
If this can help in any way: when composing something with the intention of creating different planes of sound (ie: melody, accompaniment, resonance) it is improtant that you consider this from a compositional point of view.
If your melody is all in quarter notes, then making the accompaniment in quarters and the resonance in quarters will just create this big bland mass of sound - very homophonic (and no gay jokes!).
On the other hand, if your melody has characteristic rhythms, and uses values that are substantially different from the accompaniment, and your resonance is allowed to "carry-through" long held notes (they just have to FEEL longer than what's around, they don't have to last measures on end), then you truly create planes of sound that will be subtle but distinguished by the mind's ear.
__________________
"Those that know, do;
Those that understand, teach."
-Aristotle-
"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-
In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
|