克林科维兹(以下简称“克”):当你即兴创作时,你考虑和弦的变化或者曲调吗?巴塞尔姆(以下简称“巴”):都考虑。这个有趣的问题我无法作出充分的回答。如果曲调是某个对象的骨架,那么和弦的变化就是它的外衣,它的换装。我倾向于对后者而不是对前者投入更多的注意力。我想要的一切仅仅是骨架的一个踪迹:三根骨头,而其余的东西可从中衍生出来。 KELINKOWZ: When you improvise, do you think about the chord changes or tunes? Basell (hereafter referred to as “Bar”): all considered. I can not give a full answer to this interesting question. If the melody is the skeleton of an object, then the change of the chord is its coat, its dressup. I tend to devote more attention to the latter than to the former. Everything I want is just one trace of the skeleton: three bones from which the rest can be derived.