Re: [Harp-L] Questions re: blue notes and micro-tonality

[Mark Russillo <jruss433@xxxxxxxxxxxxx>]

I think you got it, Larry.  I grapple with this everytime I practice and every time I take to the stage (when maybe I should be practicing).  Should I do what I do and add to it; or should I backtrack and figure out what I've been doing for the last 30 years?  I ask myself the same questions about singing and haven't resolved them there either.
 
Since I started trying reconstruct while playing, I have slowed my development.  I remain greedy to reach the next step, yet I have gigs and the thrill of performance calls.  There are only so many hours in a day.
 
The lady or the tiger...
 
Mark Russillo
a.k.a. The Rhode Island Kid



----- Original Message ----
From: "IcemanLE@xxxxxxx" <IcemanLE@xxxxxxx>
To: rick.dempster@xxxxxxxxxxx
Cc: harp-l@xxxxxxxxxx
Sent: Thursday, September 4, 2008 9:07:57 PM
Subject: Re: [Harp-L] Questions re: blue notes and micro-tonality

Right on, Rick. 

First came the music. Then came the academics to try to explain the music.  
To approach it from the opposite direction can be a frustration, as the mind  
tries to ask for more and more analysis details to try to reconstruct what was  
natural music in the first place.


In a message dated 9/4/2008 8:21:01 P.M. Eastern Daylight Time,  
rick.dempster@xxxxxxxxxxx writes:

I would  say that trying to define the 'blue third' or blue anything else for 
that  matter is the equivalent of sending the blues to college; 
not a great idea  in my opinion (I don't like what that's done to jazz either)
It's a vernacular form, like all folk music. The best way  to 'define' it is 
to work out what sounds good to you at any given time, and  go for that; the 
flatter, the darker, the  dirtier.




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