But Peter, where is the question not answer? If it hasn't been answered by now, then maybe you need to restate or rephrase the question.

The only thing I can think of that hasn't been covered is the matter of working in conjunction with other instruments. Example:— A string quartet. The cello plays a low C, the viola plays an E, the second violin plays a G, and the first violin plays a high C. Voila!! A C major chord. Happens all the time. Same idea works, of course, with a washtub bass, guitar, banjo, and mandolin.

Here's a cute one: suppose you play just two notes on the guitar, a C and a G. At the same time, the note you sing is an E. The combination of voice and guitar produces a C major chord.

Here's another one: if you work with a group, try playing chords with each instrument playing a different note in the chord. Then, playing the same chord, change which instrument plays which note. The chord remains the same, but the texture of the sound changes. You might find some interesting sound combinations that way (that's a sort of basic form of "orchestration.").

If this doesn't answer it, give it another shot and I'll see what I can do.

Incidentally, I wish I could remember which one it is, but in one of Tchaikovsky's symphonies, there is a theme—a very famous and very familiar melody—that is repeated a number of times. But at no time does any single instrument or orchestral section actually play the melody. If you were to comb through the score reading the individual parts, you wouldn't find it. A single instrument could play it, but none does. It's a product of the combined instruments of the orchestra. Amazing! Tchaikovsky really knew what he was doing.

Don Firth