The Blues Scales Dan Greenblatt Pdf 17
The Blues Scales Dan Greenblatt Pdf 17
the key of c modulates to g in the f blues. key signatures function as way of quickly identifying which scale is being played. key signature ii in this case serves as a sort of safety mechanism, and is often placed where a new key signature might cause students to focus more attention than they should. this contrast between the safe and the unfamiliar (arguably: the unfamiliar of african tradition) sets the stage for a project that aims to teach the blues scales and more traditional harmony simultaneously, and then to connect these two sets of knowledge with one another. the blues scales and the key of c form a most promising starting point for students who are struggling with key and scale identification in order to discern which jazz lead sheet is being played.
for insight into how the blues and jazz affect each other, hear the example of sun ra. in addition to his overtly soloist approach to jazz, ra was well known for his unique, nearly percussive, instruments. pianist aaron murray (2007) writes, this octave jumping was characteristic of ra [3], and exemplified by his playing on the electric piano. ra s idiosyncratic choice of instrumentation was the result of the way his influences from jazz and african music were absorbed and developed in his early adult years. ra s special interest in unorthodox instrumentation was motivated by the fact that he grew up in a deep tradition of jazz. ra was one of the few jazz saxophone players to develop this interest. ra s experimentalism in instrumentation was influenced by his education in classical music during his early years. ra was, in essence, a musician whose style grew out of a synthesis of african and jazz music. this synthesis could be exemplified by a few of ra s instruments, the electric piano, the chorus and the percussion.
philip tagg (2009) observes that the chords in loop-based grooves create a sense of states, conditions, or places to be, rather than acting as components of a large-scale tonal scheme. within these loops, the consonance and dissonance are more a matter of metrical placement and emphasis than intervallic content or voice leading. these loop progressions frequently violate the conventions of western tonal theory. david bruce (2021) describes repeated dissonance as the basis of most twentieth century popular music. over a clip of the guitarist cory wong playing a funk groove, bruce explains that the groove is based around the simplest kind of dissonant chord, the dominant seventh. thats a chord thats thought of as dissonant because it creates a tension that needs to resolve to the tonic (n.p.). bruce compares funk to igor stravinskys rhythmically repeated dissonances, and illustrates his point with a mashup of cory wongs groove and the rite of spring. however, this analysis statement is only valid in a particular stylistic context. remember that in blues-based grooves, tonic dominant seventh chords are not dissonant, they are consonant. whatever tension or resolution wongs groove possesses, it is not due to resolution of tritones in cadences.
wagner describes blues scale notes as spoiling the diatonicism of clean chords. by reharmonizing blues scale notes with chords from parallel minor, they become family notes that are at home in their chords, thus giving them legitimacy (p. 354). reharmonizing a blues scale note improves its status because instead of being an outsider, it becomes a distinguished member of the club (p. 355). reharmonized blues scale notes are transformed into respected members of the community, although their african roots remain imprinted on their identity cards (p. 356). wagners choice of language reveals an implicit assumption, widespread in the music academy, that blues is not native to western harmony, but rather is foreign, and of lower status.
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