[Dixielandjazz] Bix's Solo

[Robert S. Ringwald]

----- Original Message ----- 
From: "Stan Brager" <sbrager at socal.rr.com>
To: "Robert S. Ringwald" <robert at ringwald.com>; "DJML" 
<dixielandjazz at ml.islandnet.com>
Sent: Saturday, February 03, 2007 7:34 PM
Subject: Re: [Dixielandjazz] Bix's Solo


> While I'll take Jay Arnold's word for all of this, I don't think that this
> is what Bix had in mind when it came time to play his solo.
>
> Bob, didn't you tell me one fine day long ago that this is the way you
> worked out your solos???



Naw. I just close my eyes & press a key.  I am always surprised at what 
happens.

--Bob Ringwald

>
> Stan
> Stan Brager
> ----- Original Message ----- 
> From: "Robert S. Ringwald" <robert at ringwald.com>
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Sent: Saturday, February 03, 2007 5:24 PM
> Subject: [Dixielandjazz] Bix's Solo
>
>
>> Steve Barbone quotes Jay Arnold's analysis of Bix's 16 bar solo in "Krazy
>> Kat": (1927).
>>
>> For example, this quote which is fairly typical of many in the book and
>> quotes Jay Arnold's analysis of Bix's 16 bar solo in "Krazy Kat": (1927)
>> "The third and fourth notes of measure 1 are the upper and lower neighbor
> of
>> the root of the chord, which when reached has become the fifth of the G7
>> chord of the second half of the measure. In measure 4, the dotted quarter
>> note(D natural) is an anticipation of the seventh of the E7 of measure 5.
>> However Bix has already left the note by the time the chord of which the 
>> D
>> is a part is sounded. The G natural is the Negroid (sic) lowered third,
> the
>> F sharp used twice is the ninth. The construction in measure 6 is very
>> ingenious. The E sharp is the lower neighbor of the thirteenth (F sharp)
>> which follows it. G is the seventh of the chord, followed by a passing
> note
>> leading to the root of the chord (A) which is not sounded until several
>> notes later, giving the figure an element of suspense. The D is the
> eleventh
>> of the A7 chord, the B is the ninth. At the end of the measure there is a
>> restatement of the lower neighbor of the thirteenth and the thirteenth
>> itself. The measures 7 and 8 are a break that is charming in its
> simplicity.
>> In measure 9, E natural is the upper neighbor of the fifth of the G7
> chord.
>> Measurers 10, 11, and 12 show a disregard for the ornamental harmony in
> the
>> background. In measure 13, F is the upper neighbor of the chord root.
>> Measures 14 and 15 also are independent of the background harmonies."
>> (snip)
>>
>> Jesus, someone has much too much time on their hands...
>>
>>   --Bob Ringwald K6YBV
>> 916/806-9551
>> www.ringwald.com
>> --
>> Leader, The Fulton Street Jazz Band
>> www.fultonstreetjazz.com
>> --
>> The Boondockers (jazz and Comedy)
>> www.theboondockers.com
>>
>>  In the 60's, people took LSD to make the world weird. Now the world is
>> weird
>> and people take Prozac to make it normal.
>>
>>
>>
>>
>>
>
>
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