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Learn Thirds, Sixths, And Tenths Urges Alf Edwards

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Speaking as a merely semi-literate musician, I don't think that dots inhibit creativity.


What I do see is that the dots help many musicians who do not possess much creativity of their own to participate in music-making, often giving us the pleasure of hearing good instrumental technique applied to imaginitive arrangements by other people.




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this may very well be true - but I wouldn't underestimate the benefit of working with staff notation or, IMO preferably, (ABC-based) lead sheets when it comes to widening or further differentiating an arrangement, as it might give you an extra overview and understanding of what is, or could be, going on.


Best wishes - Wolf

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Another thing would be higher notes in the style of (fiddle) double stops - like a passing drone, but above the melody. I'm including these (mostly a fifth or octave above the keynote) in my own playing from time to time, and really like it.

Another harmonization option I did not know about. Thanks Wolf.


This has been a really informative thread. Great stuff, thanks all around.


Are there any more options to explore?



Coming back to the original topic at hand (discussions about dots or nots are recurring and to me not half as interesting as parallel harmonies):


I, too, found this approach extremly helpful and intriguing. Thanks again everybody for bringing it up!


I did some practical exercising (just parallel harmonies below the melody, not Wolf's above-the-melody extensions) and published it here:




In the B part I do use parallel harmonies, both a third and a sixth below the melody (I also experiment with switching between the two there). I'll agree with what's been written before: Don't overuse it. It's a great way to loosen up individual phrases and parts (as well as a great technical exercise, at least on my Crane), but carries the danger of leaving a saccharine taste in the ear if carried too far.

Edited by RAc
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