I don't think you can make the presumption that the chords would be continuously parallel.
How 'bout "largely" parallel? Chris describes using one hand.
And I don't think it really matters if you think of it as one part with 4 voices or 4 parts that are in sync with each other.
I think of such a passage as 4 parts in sync with each other, but I'm not sure why how it is thought of would make a difference in the discussion.
Little difference for the "Explode!" topic per se. However, more than interesting for me to hear how folks describe such relationships as it would seem to reflect on their analytical ear. Kinda wondering if I've done too much Bach at this point.
Philip
On Wednesday, Dec 31, 2003, at 12:15 US/Pacific, Christopher BJ Smith wrote:I often write for big band, and homophonic sections are easily entered by holding down big fat 4 or 5 part chords on the MIDI keyboard with one hand while entering the note value with the other, on the first trumpet part for example, then Exploding it to the other trumpet staves.
As a matter of clarification, and not to disagree with your other remarks on Finale's Explode, I would characterize anything with such lock-step rhythm and (presumably) continuously parallel motions as being conceptually one "part". Like in a 4 part piece, it would be one part ("homophonic sections" and "first trumpet part" notwithstanding) and the various trumpets being the "voices" of the part. Agree or disagree?
Philip Aker http://www.aker.ca
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