Đây là quyển sách ,tài liệu tiếng anh về các lý thuyết âm nhạc,các thể loại,cách học cho người đam mê âm nhạc .
Trang 1Blue notes or not
Guitar Player; Nov 1992; 26, 11; Research Library
pg 110
Ex 5 expands Ex, 2 into a riff for a simple
of a 12-bar blues Although Bj is used in measures | and 3, the ear doesn't expect the supporting chord to be C7 But when mea-
BY JOHN DUARTE
HETHER a note is considered to 12-bar blues is quite different from purer sure 4 arrives, the Bf slots into place and for
be “blue” depends on how it’s forms Bebop was a rebellious music and the the moment isn’t a blue note Ep is a blue used—a distinction that’s often weakening of the perfect fifth, that pillar of note in relationship to the C chord, but sug- overlooked Let's consider a few cases the harmonic establishment, issued a chal- gests F7 in measure 2 5
Ex 1's Eb clashes with the C chord’s E4 lenge In bebop you can think of the b5 as
and is repeated to drive the point home Ex 2 displacing the 45, not confronting it in hand-
includes a BL, which enhances the bluesy ef- to-hand battle like a conventional blue note
fect Play Ex 2 with the £5 changed to £4, and When a simple non-harmonic note chro- Authorleducator John Duarte notice that the Bs retains the blues flavor; matically pushes up to a chord tone, it takes is one of the world’s fore- however, if you keep the FL and use B4, the on an ornamental role, not that of a colli- most composers for classi- phrase sounds far from right sion-causing blue note Analyze the phrases cal guitar, and his works
have been performed by Andres Segovia, John Williams, Alexandre Lagoya,
Ex 3's Gp is clearly a 55, a blue note that in Ex 4, where I’ve written D#, F¥, G#, and
rubs against the C chord’s G The 45 is a A#, not their enharmonic equivalents that
f “”l g— 1 oO > ain
Gao tee | @&£—=2Z 7”
Ex 4
QO oO
e) T Ị Ị ' T
110 GUITAR PLAYER November 1992
Reproduced with permission of the copyright owner Further reproduction prohibited without permission