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Blues Theory
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Swain



Joined: 01 Jul 2008
Posts: 211
Location: Arkansas

PostPosted: Sat Jan 19, 2013 9:49 pm    Post subject: Reply with quote

What term?

Now I think I'm finally pulling more from the term "Reciprocal".

Overtonal seems so easy to grasp, as it's right there on the strings. But Reciprocal only kind of resonated with me. I understood the superfical level of it, I suppose.

Now it's starting to come more fully into focus for me, I think.

I could be way off base here, but I think this interconnectedness is finally sinking in.

So simple, I just keep missing it as it's all hidden in plain sight.

Sheesh! Embarassed

Anyway, I think that I've gotten a little further along the path.

We'll see.........
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Swain



Joined: 01 Jul 2008
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PostPosted: Fri Oct 18, 2013 5:25 am    Post subject: Reply with quote

kimock wrote:
Swain wrote:




However, the idea of the Septimal 7th. of the Reciprocal 3rd. of the Tonic (b5th, in Intervallic Space. Correct Terminology here?), and yet no appearance of the Reciprocal 3rd. of the Tonic itself, is kind of surprising.


Sorry I didn't see that sooner Swain, the "Where's the "F" in A7" answer in terms of the overtone series is it's the product of the tonic, b3 and b5.
A, C, Eb?
Right? Rootless F7 chord?

Right? The blue notes plus the A tonic are 3, 5, b7, 9 of F.

Cool?

Not a tonic "splitting into overtones", overtones combining to a pitch.



Just like F generating C!

Or, in the E Blues examples you wrote in the earlier post, C generates G.

Flipping those TriTones shows the other side of the coin.

E C# A E B G# E, a big fat A triad with an E triad on top with the tonic in the center. Right?

A generates E just as D generates A.

You get that, right? If adding 7th's is creating tri-tones, and the resulting scale tonality is "Blues Scale in E", the result of flipping those tri-tones (which is the operation that transforms interval space to harmonic space) gets you a lower A triad and an upper E triad.
Is that a home run or a foul?



I think I'm getting it.
Is this just two sides of that same coin, as I described? Or, as you've described. Repeatedly....... Laughing And as I've tried to regurgitate here?

Close?

I think maybe. It does seem to flow into that continuous sheet, in my mind.
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Swain



Joined: 01 Jul 2008
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Location: Arkansas

PostPosted: Fri Oct 18, 2013 6:50 am    Post subject: Reply with quote

Something you wrote (SK) from an older thread on TGP:

"I deleted all the good stuff!!
The exceptions to the chord tone approach are as follows.
1. The "inside/outside" note hierarchy will often be counter to the vocal melody which in a lot of cases uses the second level choices as principle melody tones, so as always, don't paint yourself into a corner with an improvisational concept that doesn't allow the melody to come first.

2. The chord tones obviously don't fit into the bar lines, so don't think your "A sounds" start on the downbeat of the bar.
Whatever you're doing, you want the tonality you're heading for to land on the downbeat, to resolve into it.
The tonality of the chord tone line precedes the chord it names.

If you look at it like that, there's less fuss about what's in or out, you're always going to be playing some kind of "A7 sound" while that bar of E7 is running out, you'll always be playing some kind of D7 sound over the end of that A7 chord etc.
Everything's a pickup, so don't get stuck with the chord tones inside the barlines, that's gonna sound like poop!"

And:

"Y'know, I really think you can satisfy a lot of the non-diatonic note choice stuff in the blues if you pay attention to the tonality preceding the change pick-up "forward motion" routine. Not everything obviously, and I'm usually pretty down on the C/S program, but it does work rather well with the blues if you apply that displacement. What do you think?

peace!! "

Those have stuck with me, so I wanted to dig them back up and place them in this thread.

And this big, continuous sheet seems to keep unfolding. One thing leads to another.......
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Swain



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PostPosted: Fri Nov 01, 2013 4:09 pm    Post subject: Reply with quote

Kind of a coincidence? Maybe not?

Talking to a friend about Harmonicas and he mentions how he uses a Harmonica in the Key a 4th. lower to play Blues.

Like, a D Harmonica for a Blues in A.
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Swain



Joined: 01 Jul 2008
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PostPosted: Tue Dec 17, 2013 7:26 pm    Post subject: Reply with quote

Swain wrote:
Kind of a coincidence? Maybe not?

Talking to a friend about Harmonicas and he mentions how he uses a Harmonica in the Key a 4th. lower to play Blues.

Like, a D Harmonica for a Blues in A.


I know that the "D" Harmonica can yield the Notes of A Mixolydian.

The coincidence I was thinking of was more about the idea of how the A Blues is generated. That whole conversation just seems to add more layers.
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