I think it mch more liekly it developed from an attempt to play non-tonal
music, where it is really the only way to proceed. The concepts *can* then
be applied to tonal music, but there is no particular reason to do so,
except as device to add chromaticism.
>I think Reed has successfully shown us many times that this explanation
>does not really serve well in explaining how great players actually
>create their music.
I think this all depends on how you define your set of great players. It
seems to be rather circular. I'm frankly getting a little tired of this
continued implication that modal and other non-tonals musics don't exist or
that the musicians who practice these styles are not great.
--------------
Marc Sabatella
marc@outsideshore.com
http://www.outsideshore.com/