This chart shows various approaches that can be taken to create parts for all the instruments in the combo; lead, accompanist, bass and drums. They generally move from very easy to complex. It’s called Horizon because there are an infinite number of ideas that you can come up with to fill out the tune in an ever receding horizon. Meaning this document is by no means definitive. I made it because some people probably want to know how to fill out all those recommendations I made on My Favorite Things. It's in traditional music notation. Sorry it's not on proper parchment paper. Aint got none and can't easily get it.

The part for the lead player is at the top and contains;
The main melody,
A held Pitch for four bars,
A held pitch for two bars,
A held pitch every bar,
Two half notes every bar,
Including half note triplets,
Using quarter notes,
Quarter note triplets,
Eighth notes,
Eighth notes swung,
Eighth note triplets,
Includes sixteenths,
Using quintuplets,
Making the changes with other pitch structures that still fit the chord,
Playing chords in key,
Playing chords outside,
Targeting the 2nd chord ignoring the first,
Arpeggios on chord extensions only,
Soloist playing basic chords altered,
Altering the extensions,

For the accompanist there is;
Repeated chords,
Block chords,
One chord every other bar syncopated,
Two chords every other bar syncopated,
Block chords for two bars,
Permutations of 3-side of clave’ every other bar,
Chord lengths shorter and shorter,
Diatonic neighbor chords,
Imposing more frequent changes on the accompaniment,
Open voicings,
Non-3rd chords,
Serial quartals,
Serial non-3rd chords,
Extensions of the chords,
Alterations to the basic chord,
Altered extensions,
Diatonic sevenths,
Chord ostinato refusing to progress,

The bass gets;
Whole notes,
Half notes,
Quarter notes,
Bass ignores some chords,
Bass plays the main melody,
Bass plays b6,
Retrograde of the melody,
Main melody developed,
Inversion of main melody,
Retrograde inversion,
Isomelody,
Chords with harmonics,
Diatonic planning on bass chords,
Bass ostinato refuses to progress,

Drums get,
Variations on high hat/ride,
Variations on bass drum,
Variations on HH/ride & bass drum,
Snare variations,
Simultaneous drum variations (HH, SN, Bss Drm,
Drum’s play melody’s rhythm,
Melody’s rhythm retrograde,
Avoids melody’s rhythm,
Isorhythm,
Starting with long durations then shorter and shorter,
Melody’s rhythm filled in,
Permutations of 3-side of clave’ every other bar,

Here's the next 5.

Up to 15 pages.

Rounding it out to a nice even 20.

Thanks...you worked a lot...

Seems like you got a lot of free time on your hands

Yes time on my hands but also the ability to focus my attention on the depth of the rabbit in the hole in the age of just fake it. Many other people, if they had time on their hands, probably wouldn't do this. Faking it doesn't really work even for the people who looks like it's working. If someone gets rich from a song with the only three chords they know, they probably can't make any more songs that reach the public the way their one hit wonder did but also, they know they're a pale shadow of the real thing and they also know that everyone else knows it.

This chart shows the depth of my devotion to this aspect of the field of music; Theory and Composition but also to all the Stick players here.

Other people's devotion doesn't need to be to this. Performance is one of the others and there are real good players here who give their devotion with the time that THEY have. Often the criticism comes stuff like this is too analytical and/or intellectual. My impression is that those are the fakers.

What I hear when those kinds of criticisms are spoken is that they're too tired or have too much attention deficit to follow a line of thought as far as they can and is exactly what excellence in the arts needs and not people who don't even think they're fooling anyone with their just wing it orientation. Sorry for the rant. Don't know where that came from. You were just stating the obvious. I have some free time.