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"playing the blues" meant impropos and characters,and to a musician the expression "choruses" and a sequenceof chords. vising on a successionof twelve-bar The secondhalf of the 1940s saw the developmentof a more sophisticatedstyle, especially after the introduction of electrically amplified instruments in the iazz band. The bebop, a progressivejazz style of this period, was strongly influenced by the blues tradition. "rhythm and blues," which is the progenitor The 1950switnessedthe emergenceof 'n roll. Even today the talent of a jazz musicianis judged by his ability to of rock extemporize spontaneouslywithin this fundamental jazz form, which accountsfor about one third of all popular music. The next section explainsthe characteristicfeaturesof the blues in relation to the basicelementsof music. This is followed by thirry-three practical exercises,each dealing with a specific technical problem for the left or right hand. In order to acquire an absoluteindependenceof hands, it is necessaryto practice each hand separately.This should be done in a slow tempo and without the use of the right pedal. Instead, the student can keep a steady tempo by tapping the beat with his right foot.
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Harmonyand l-orm The harmonic and formal structuresof the blues and the boogie are the same.Every "choruses," each composition consistsof a successionof twelve-barsectionscalled section containing an identical harmonic pattern. This pattern is basedon the triads built over the first (tonic), fourth (subdominant), and fifth (dominant) degreesof the scale.Here is the formal and harmonic structure of a typical blues or boogie in the key of C.
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BlueNotesand Scales " The melodic line often containsfeaturestypical of the blues,namely the so-called"blue notes. Theseare notes, pafticularly the third, fifth, and seventhdegreesof the scale, whose intonation lies betweenthe major and minor pitches.(For practicalpurposes, thesedegreesare flatted by a semitone.) In blues singing,thesenotes could be easily "bent" or "glided" by the singeror played on the guitar, the most important instrument for blues accompaniment.In order to imitate the blue notes, which were impossibleto play on a keybolrd instrument, the blues pianistshad to develop a specialtechnique of embellishmentsconsisting of gracenotes and slides. Although most blues melodies are basedon the major scale,some use other scales "blues scales"containing the blue notes. such as to"trd or semitonal pentatonic scales,or Tonal pentatonic scalesconsist of only five notes and include no semitones.
The last inversion of the aboveexample is quite often used in blues, especiallyin a descendingline. Semitonal pentatonic scalesinclude semitones.
The blues scaleaddsblue notes to the major scalebut omits the second,sixth, and major seventhdegrees.
Sometimesblues pianistsuse a minor triad in the right hand and a major triad in the Ieft hand simultaneouslv.
MeterandTempo The meter of the blues, like most jazz music, is f (common). Often the secondand t fourth beats of the bar (backbeati) are heavily accentuated.Some piecesare in I ot 3 meters, partly under the influence of gospelsongs. The blues and the boogie-woogiehave much in common: the formal structure,the chordal sequence,and some bassfigures. But there are certain differences,two of them being the tempo and the dynamics. Since the blues is originally a song of lamentation descfibinga liie close to the bone, it is usually in a slow iempo and oi a medium dynamic level. On the other hand,_theboogid is a heavily peicussivepiano style with gtrat rhythmic vitality. It is played in a fasi tempo on a-quite high dynamic ievel.
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