Klarinet Archive - Posting 001194.txt from 2000/10

From: "Tony Wakefield" <tony-wakefield@-----.net>
Subj: [kl] "Blue" 3rds, 7ths etc
Date: Tue, 24 Oct 2000 16:27:47 -0400

The "blue" third, Eb in the key of C major is used slightly differently than
the "blue" 7th (Bb).The note Bb is the minor 7th, forming the dominant 7th
chord C-E-G-Bb <on> C, or <in> the key of F major. O.K. so far? The
underlying harmony (or rhythm section) will play <that> chord C-E-G-Bb,
(give or take a few additions or subtractions).
In the "blue" 3rd, (Eb), the underlying harmony does <not> change to C-Eb-G.
(Add the Bb if you like). The harmony must stay as a C major chord, with the
Eb as an <addition>, (frequently 8ve) thus forming a sharp 9th, or a
flattened 10th. Got that? So, the chord will become C7#9 C-E-G-Bb-Eb. A
pianist would probably omit the G giving the chord a "simpler" sound, but at
the same time emphasising the E-Eb discordant effect - great in currant jazz
rock fields, where the jazz rockers think they invented it. But low and
behold they didn`t. It was Gershwin in America who popularised that "sound"
from the 20`s onwards. And low and behold, Gershwin himself did not even
invent it. Europe to the rescue again chaps! Wolfgang Amadeus himself used
the chord, quite extensively in his piano concerto in C maj. K 467, (amongst
other works no doubt also) other wise known as the theme from Elvira
Madigan.
Yes, THE tune, (in F major in the Andante) uses it in it`s development
section, as a D7b9b10/G bass, running thru` a whole section of twisting,
shifting and poignant harmonies which would put the whole of the 20th
century back into kindergarten for sure.
There! That`s a statement for the dogmatics amongst us. I SAY DISAGREE WITH
<THAT> IF YOU WILL!!!
Signing off.
Best,
Tony W.

From: Shouryunus Sarcasticii <jnohe@-----.edu>
Subject: Re: Re: [kl] Kenny Davern

> On Sun, 22 Oct 2000, William Wright wrote:
> > Thank you for the replies. Taking this one step at a time, what
> > is a person supposed to get by fingering F {TR-L123-R1} and then lifting
> > L3? I get a quarter-tone above G# ...... I think.
> >
> > I don't know what "blue third" means, if you care to elaborate.
>
> The "blue third" is a reference to the blues scale. I'll compare it to a
> major scale.
>
> Blues scale in C
>
> C Eb F F# G Bb C
>
> C D E F G A B C
>
> The blues scale relies primarily on the flat third and flat seventh for
> its effect, and typically in improvisation, players tend to mix both
> scales for a distinct sound:
>
> C D Eb E F F# G B C
>
> is a common pattern followed.
>
> Here's an idea, to help you understand the feel of the blues...Learn to
> play "Saints (Go marching in)" in C. Have it memorized, and don't play it
> in straight time...give it some swing; make it hip. THEN...randomly
> change SOME of the E's in it to Eb's. Sounds pretty groovy, eh? That's
> the blue third. ^_-
>
>
> Shour

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