Drawing works, for me anyway, when it has a variety of pace. It  needs the line which evokes, with speed and economy, only just liaterally holding onto the barest mimetic framework. It also needs to detailed line, the slow burning line which with care and precision denotes the specifics, pedantic tennants of the objective eye.

These various lines work like instruments in an orchestra. The musical analogy is overplyes i know. They create both varying rhythms and melodies. The rhythm is in the pace of the line and the melody in the intrinsic formal qualites created by the pace. in the case of drawing melody is the sub product of the rhythm. The melody is the thickness, the thiness, the harshness or the delicacy. The rhythm is the actual physical and visual movment which reminds of the hand and pulls the eye dancing across the page.

 We can only find resoance, and harmony, when these rhythms coexist. Without this dialogue we are left with a monolgoue. its either the pedantic bore of the myopic detail or the nonsensical move to abstraction of the evocation.