EXAMPLES

Example 5 Here’s a variation on the same series of stacked triad used in the previous example, only this time, an extra 16th-note rest has been added to the end of each pattern in order to create a series of five-note motifs that, when played to a count of 4 (in this caseE,am16th-note couAnt) become severely rhyEthmically displaced. The resulting shift in rhythmic emphasis sounds less predictable and so helps to maintain interest for the listener. Finally, some mEoDre triads have been tagged o4n to5 the en5d of the orig7inal sequence; in this case, each descending three-note triad motif also has a 16th-note rest grafted8 four-n∑ote onto the end in order to produce a series of consecutive motifs. Example 6 This example represents a hybrid of many of the previous ⋲examples: 4∑and it starts with the same triad shapes used in examples 5, each following a simple three-note 5-3-1 note-order. This is then followed, from beat 4 of bDar 21, by the ascending stacked series of 1-3-5 triads used in example 1. noteDhow each triad motif is three notes long; so, again, the overall effect is rhythmically displaced: producing a ‘3 against 4’ effect when played to a 16thnote count.