I decided to do a left hand (LH) melody with right hand (RH) accompaniment. (I will use these abbreviations from now on).
If you write, create, improvise any idea, say a melody and a chord progression, nothing will change the outcome more than flipping roles between the hands. For starters, the switch of ranges (registers) will turn our ears away from the typical melody on top - chords below default setting. As a player and someone who will improvise using this technique, the hands will act differently in their switched roles. Even if you just cross hands and play melody on top - chords below it will be different enough. Todays piece is an example of the opening sentence above, no crossed hands. I don't do this that much so that adds to the very different way an intended idea comes out. This is all my experience so I'm not intending here to lay down the law. This technique like a lot of things is developed at different levels with everyone at any given time.
So, probably the lesson here is to try doing this and see what happens. In all ways mentioned above. I think it would be cool to develop this technique to the point of real fluency. To have the flexibility to go in and out of this sound in any context would be a powerful tool.
If you write, create, improvise any idea, say a melody and a chord progression, nothing will change the outcome more than flipping roles between the hands. For starters, the switch of ranges (registers) will turn our ears away from the typical melody on top - chords below default setting. As a player and someone who will improvise using this technique, the hands will act differently in their switched roles. Even if you just cross hands and play melody on top - chords below it will be different enough. Todays piece is an example of the opening sentence above, no crossed hands. I don't do this that much so that adds to the very different way an intended idea comes out. This is all my experience so I'm not intending here to lay down the law. This technique like a lot of things is developed at different levels with everyone at any given time.
So, probably the lesson here is to try doing this and see what happens. In all ways mentioned above. I think it would be cool to develop this technique to the point of real fluency. To have the flexibility to go in and out of this sound in any context would be a powerful tool.