Last issue we looked into the possibility of creating a chart -- a continuum which illustrates the options available in the area between tension and relaxation. And we listed these possibilities:

Non-conformity to an established pattern.

Dissonance in terms of an established consonance.

Degree of highness or lowness (pitch) on the keyboard.

Potential for accumulated sounds with the sustain pedal.

Innovation of new forms after establishing a basic form.

Combining piano sounds with other instrument or voice sounds.

Possibility of amplification or sound distortion.

Variance in attack styles (legato to staccato.)

     Perhaps it would be possible to construct a continuum which would show the possibilities for the creation of tension as opposed to relaxation:

TENSION CONTINUUM

     The purpose of this chart is to show the possibilities which exist for a pianist to get and hold the interest of his listeners through a creative balance between tension and relaxation. If a musician moves too far to the right on the tension continuum, most people will reject his music as being “revolutionary,” “anarchistic,” or “confused.” If on the other hand, a pianist stays too far to the left on the continuum, most people will say things like “boring,” “trite,” or “nothing is happening.”

     Each individual pianist will have to find his own place on the continuum, consistent with his ability, personality, world view, and numerous other factors. Most musicians solve this equation by “mixing it up” – using a variety of dynamics, etc., in each song, and playing a relaxed tune after an exciting tune, and so on.

    Next issue we'll take up polytonality and superimposition.