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yes, in a simple way of putting it, that IS basically what it is.
Contrast is the important issue - there should be some sort of rhythmic contrast between foreground planes and background planes.
Remember that more movement generally equates to more attention.
If you accompaniment is extremely active, it should at least not be too harmonically active. If it is very active then make sure that your foreground plane is at least orchestrated so as to bring it out over the accompaniment - in other words it should have more "mass", be in a prominant register, have more characteristic timbres...
For example:
a solo flute in whole notes in its lower range against a full string section in 16th notes covering a wide range...
which one do you think will "SOUND" like the foreground and which one like background?
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"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.
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