Posted Tue, 03/31/2015 - 09:18 by David Barrett Admin
For about a month now we've been reviewing the common, and not so common, Chorus Forms used by blues musicians. Take a listen to Aki Kumar's instrumental "Bombay Stroll" released today at http://youtu.be/iAPr6qUTufg from the new It Takes Three CD and analyze it for his use of Chorus Forms.
Posted Mon, 03/30/2015 - 10:21 by David Barrett Admin
Harmonica players who like to perform find that if they sing, they get to choose the song and lead the band at jam sessions. Singing is approached like the study of any instrument. There are exercises, such as scales to built range and intonation, and each song needs to be studied for its rhythm, melody and phrasing. Most new singers don't realize this and just start to sing the words and unknowingly start singing either on the wrong note of the chord or commonly in the wrong key.
Posted Fri, 03/20/2015 - 08:19 by David Barrett Admin
The theme in “Gary’s Blues” is presented in the first two notes, the 3+ eighth notes. This eighth note figure is restated throughout the song. You see this at the end of the first line, with the 4+ 3 played in the same eighth note rhythm. The second chorus starts with these 3+ eighth notes and you see them again in the third bar of Chorus 3… and at the end of Bar 4. This repeats in other places, but I think you get the idea. This type of thematic element is not commonly noticed, but it’s no doubt part of what makes a song cohesive. continue reading...
Posted Thu, 03/19/2015 - 09:23 by David Barrett Admin
Through this series I hope you've caught on that repetition, or by another name... organization, comes in many different forms in music. Take a listen to "Gary's Blues," your Tongue Block Study 3 study song. Listen for themes and we'll compare notes tomorrow.
Posted Tue, 03/17/2015 - 08:23 by David Barrett Admin
In Friday's Richmond Browne quote he states, "The listener is constantly making predictions; actual infinitesimal predictions as to whether the next event will be a repetition of something, or something different. The player is constantly either confirming or denying these predictions in the listener's mind. As nearly as we can tell, the listener must come out right about 50% of the time--if he is too successful in predicting, he will be bored; if he is too unsuccessful, he will give up and call the music 'disorganized.'"
Posted Fri, 03/13/2015 - 09:55 by David Barrett Admin
What is the soloist doing when he attempts to "build"? Actually the ideal process hardly ever takes place--that is, it is hardly ever the case that a conscientious soloist plays a thinking solo for a hard-listening hearer, but when this does happen, the key process is memory. The soloist has to establish for the listener what the important POINT, the motif if you like, is, and then show as much as he can of what it is that he sees in that motif, extending the relationships of it to the basic while never giving the feeling he has forgotten it. continue reading...
Posted Thu, 03/12/2015 - 09:23 by David Barrett Admin
In the book Improvising Jazz by Jerry Coker there's a quote author by Richmond Browne that "The listener must come our right around 50% of the time" in regards to guessing where the music is going next. Ruminate on that important statement and I'll elaborate tomorrow.
Posted Wed, 03/11/2015 - 13:38 by David Barrett Admin
Listening to Chorus 2 of George Harmonica Smith's "Juicy Harmonica" notice that the first and second line use the same rhythm. Though the notes are different, the rhythm remains the same. This is a rhythm sequence. He changes on the last line (last four bars). Focusing on pitches only, you would call this an A B C Chorus Form. Taking into account the rhythm, it's clearly an A A1 B Chorus Form (A, A variation 1, B Chorus Form).
Here's what he plays using TAB. I placed the pickup to each line in parenthesis so that you can see the main meat of the line he's playing. continue reading...