Handy and Functional. Tense, Aspect, Modality and Agreement ?arkers as ?uxiliaries in Greek Sign Language

When Charlie Hayden became a permanent addition many of these problems were solved. Hayden was a participatory bassist [vs an accompanying one], following the horn lines free from functional harmonic orientation, and favored the low registers of the instrument - all factors which liberated the improvised line. Ornette’s music did conform with the concepts of conventional form but while accepting formal structure he ‘omits’ the harmonic implications of form. His is a totally linear approach to making music - the point of reference is not the ‘changes’ but a fundamental ‘sound’…a tonal relationship to one underlying tone rather than functional harmony. The Modal Approach to improvisation - by choosing a modality for improvisation actually is a choice among ‘musical sets’ and the acceptance of the internal order of relationships within the mode. The Focal Tone Approach has no such implications and provides a much freer space for improvisation. Both approaches can stagnate easily and Coleman’s solution incorporated two elements - motivic improvisation [termed Motivic Chain-association] and shifting to secondary ‘tonal centers’ ...»