[Dixielandjazz] Twinkle, Twinkle ... Knock, Knock

[glcjazz at aol.com]

IT IS IMPORTANT WHEN PLAYING ANY SIMPLE CHORD PROGRESSION NOT TO OVERLOOK THE ODDED 13TH AND A HALF WITH THE SPIVIENTH ON TOP,  IF THE SPIVIENTH IS OMMITED OR PLACE ANYWHEN BUT THE TOP, THE ODDED 13TH AND A HALF WILL NOT SOUND "BLUESY" 
 
-----Original Message-----
From: Robert S. Ringwald <robert at ringwald.com>
To: DJML <dixielandjazz at ml.islandnet.com>
Sent: Mon, 5 Sep 2005 01:33:25 -0700
Subject: Re: [Dixielandjazz] Twinkle, Twinkle ... Knock, Knock


Bill Gunter writes: 
 
(snip) 
> Interesting post on the "Barber Song" as you called it. (the old "shave > and a haircut") 
> 
> In Morse Code, the slant sign is rendered thusly: Dah dit dit Dah dit > ( _ . . _ . ) and the letter "M" is rendered: Dah Dah ( _ _ ). So the > code for " / M " is "Dah dit dit Day dit (pause) Dah Dah!" 
> 
> But that's just the beginning of the matter. The whole concept of tension > and resolution may be found in the "shave and a haircut" phrase. It's > sort of a microcosm of the blues. The chord progression (in the key of C) > is: 
> 
> C C C F C / - G7 C 
> 
> These are the basic chords and in the same sequence (though not time wise) > as the twelve bar blues, arguably the root of most jazz as we know it. 
> 
> The addition of the seventh in the G7 chord adds a certain tension to the > progression which is then resolved by the statement of the final C chord. 
> 
(snip) 
 
Huh??? 
 
 
 
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