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Klarinet Archive - Posting 000322.txt from 2003/06

From: "Bill Semple" <wsemple@-----.com>
Subj: Re: [kl] Keys and their character
Date: Wed, 11 Jun 2003 08:11:03 -0400

A diminished chord does not sound quite as chipper as its related major
chord, does it? And when one simply flats a third, we do get a change in
mood. Or at least I do.

As for the Blues, as I said in my previous post, the "Blues" is more than
chords. But this does not negate the premise that it relies on a certain
chord or scale based on primarily flatted notes. It could be argued that the
diminished and minor modalities are necessary, but not sufficient
conditions, to the "sad" song. That is, alone they do not make a song sad.
But one cannot have a sad song without them.

William T. Semple
Office: 202-364-2466
Home: 540-364-4823
Cell: 540-903-6645
----- Original Message -----
From: "Bill Hausmann" <bhausmann1@-----.net>
Subject: Re: [kl] Keys and their character

> At 11:54 PM 6/10/2003 -0400, Kent Krive wrote:
> >Bill,
> >
> >The fact that early jazz instrumentalists adopted the harmonic format of
the
> >blues (most often the 12-bar format) to the extent that it became,
arguably,
> >the most common progression for improvisation of a happy nature, doesn't
> >negate the early history of the form (originally a vocal form) as
correctly
> >stated by Dan.
>
> No, it doesn't. But it does tend to negate the argument that the key or
> scale defines the mood of the piece.
>
> Bill Hausmann
>
> If you have to mic a saxophone, the rest of the band is TOO LOUD!
>
>
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