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Pi, Why?

Written/Posted by Roger Aldridge

 

like this

- Play count: 147

Size: 3,015kb, uploaded 2/2/2011 9:25:34 AM
Genre: Jazz/Blues / Playing Style: Unknown/None Chosen

Pi, Why? is an unusual blues that uses Pi (3.1415926...) as a sequence of melodic intervals. But don't let that scare you away -- the tune swings. The structure of the tune is mostly in 3-bar phrases and has shifting time in places. It's not a conventional blues. Demo recorded by Amy Leonard, violin; Jason Shapiro, tenor saxophone; E. Shawn Qaissaunee, guitar; Peter McCarthy, bass; Skip Rohrich, drums.



6 comments on “Pi, Why?”

bsed Says:
Monday, March 14, 2011 @6:50:06 PM

It swings!

Roger Aldridge Says:
Tuesday, March 15, 2011 @5:23:53 AM

Thanks so much for liking the tune.

Humbled by this instrument Says:
Tuesday, March 15, 2011 @6:04:02 PM

I enjoyed it. Yet often "jazz" does not "hook" me because I want a melody brought from one of the more common scales, a mode, harmonic minor, etc. and I want it repeated, methinks. And I realize that Phil Lesh (Grateful Dead) goes nuts over Ives playing two orchestras, one playing in a 7/4 and the other a 4/4 and every 48th beat they converge and go BWAAAAAAAH! And I know some drummers who go WOW!!! over so and so's accenting this beat or that. So when I say that I like this piece, realize that I generally am not a jazz afficienado, so well done. It does groove. I'm hitting the "like" button if I can find it. Thanks.

Roger Aldridge Says:
Tuesday, March 15, 2011 @6:31:59 PM

Great message Humbled! Please see if this helps as a "hook" for you: The first part of this tune is based on a blues scale. There are different versions of blues scales. The one that I most often use is: 1, flat 9, sharp 9, 3, sharp 11, 5, 13, and flat 7. On a C7 that would be C, Db, D#, E, F#, G, A, Bb. Please play around with that. I have a feeling that you'll get down and funky with it real fast. If you think about the blues scale, then it should become clear about why I used what can be thought of as non-traditional notes (like F#, Db, etc) on a C7. Hope this helps! Many thanks for "liking" the tune and sending that great note. As a PS, I'm not real big on labels when it comes to music. If the music speaks to me, gets my foot going, and a smile on my face, I don't care what people call it. Best Regards, Roger

Humbled by this instrument Says:
Tuesday, March 15, 2011 @10:53:39 PM

Okay, so you're using a diminished scale over a dominant seventh, methinks. I once did this at a gig, thinking I was "hot," yet my girlfriend (now wife) said, "Don't EVER do that again!" Yet you seem to make it work. Oh--I was on guitar at the time--yet on the fiddle I only play diminished scales by accident! Thanks,
Curt

Roger Aldridge Says:
Wednesday, March 16, 2011 @2:08:50 AM

That's a funny story! Yes, it is a dmininished scale over a dominant seventh. A simplier blues scale on a C7 is C, D#, E, G, A, Bb. Personally, I like the two extra notes (Db, F#)....especially, the F#....as they give one more possibilities. Several fiddle players that I'm lucky to have as personal friends have a blues influence in their playing. That was one of the things that first got me hooked on old-time fiddle.

When you have a chance, please check out New Tango No. 2: Mystery. It's in my music list. It's a quirky & playful tune that has some similar bluesy touches as the PI tune. But, it's different.

Very good to connect with you here!

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