I quite agree. I find the octave/bourdon combination a way to transit
octaves in some passages. For example, playing a descending (or
ascending) diatonic C scale campanela, one can kind of go in circles,
especially if you progressively change the stress of the bourdon on the
three notes on the D string.
On Aug 26, 2010, at 5:01 AM, Lex Eisenhardt wrote:
Playing campanelas including little sound from the bourdons is
merely a
matter of how you imagine these melodic lines. The technique
follows
the
Ed Durbrow
Saitama, Japan
[1]http://www9.plala.or.jp/edurbrow/
[2]http://www.musicianspage.com/musicians/9688/
--
References
1. http://www9.plala.or.jp/edurbrow/
2. http://www.musicianspage.com/musicians/9688/
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