Well yes, but ideally one would not have to spin the vinyl faster to
hear this melody. The record that opened my ears to this concept was
released in 1956 - it was Max Roach's playing on Thelonious Monk's
"Brilliant Corners" that awakened me to the real beauty of rhythm as
melody.
The idea of "simultaneous beat collages" sounds interesting, though.
The general notion of polyrhythms comes to mind, and I think of early
Steve Reich and his work with rhythmic phase patterns, but this is
not quite the same as the "chords" you suggest.
The trick is that you still have two pieces - one to be played slowly,
where waveforms are clearly separate from one another and exist as
individual aural events; or where the ear ceases to distunguish the
separation between the pulses - much like the eye is fooled into
seeing 24 frames per second as continuous motion.
Matt
Saturday, January 27, 2001, 2:44:56 PM, jon wrote:
quoted 3 lines as a sidenote, when people talk about whether
> as a sidenote, when people talk about whether
> so-and-so is mostly rythm or mostly melody, it can be
> said that all music is really only rythm.quoted 5 lines when a pulse becomes rapid enough, we begin to hear it
> when a pulse becomes rapid enough, we begin to hear it
> as pitch, and instead of "bpm" we refer to
> "frequency". e.g., when you hear a pitch, you receive
> a rapid succession of "beats" (changes of air
> pressure) on your eardrum.quoted 7 lines i could imagine someone (like r. devine maybe) taking
> i could imagine someone (like r. devine maybe) taking
> this idea and composing with bpm organizations
> (instead of pitch organizations). like, simultaneous
> beat collages being "chords", etc. then, if you speed
> the track up really really fast (imagine gradually
> spinning the vinyl faster and faster...) you begin to
> hear a melody.quoted 1 line j
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