It is confusing for sure. But strangely enough David Amram who is
perhaps a bit more technically sophisticated than Bob Z. seems to
have had a similar revelation.
He was jamming with some jazz musicians as the post-bop period was
under way. He was not a sophisticated pianist and a guy who's name
eludes me suggested that a way to voice more sophisticated chords
without having a great deal of technique was to play a given chord
(G7) and then double the third and the seventh
degree of the chord again in the other hand. Neat trick, but I have
no idea what this has to do with the triplet issue...just a thought.
On Mar 31, 2006, at 6:14 AM, Eric Goldberg wrote:
>> Eric -
>> Perhaps you or someone else could help elucidate a mysterious
>> passage from Bob Dylan's "Chronicles: Part 1" where he writes
>> about a revolutionary system taught to him by Lonnie Johnson, the
>> great blues and jazz guitarist.
>> Dylan writes (p. 157) that his guitarmanship was electrified in
>> the 1980s when he learned how to play "based on an odd- instead of
>> even-number system" that he learned from jazzman Lonnie Johnson: a
>> "highly controlled system of playing and relates to the notes of a
>> scale, how they combine numerically, how they form melodies out of
>> "Popular music is usually based on the number 2 [...] If you're
>> using an odd numerical system, things that strengthen a
>> performance begin to happen [...] In a diatonic scale there are
>> eight notes, in a pentatonic scale there are five. If you're using
>> the first scale, and you hit 2, 5 and 7 to the phrase and then
>> repeat it, a melody forms. Or you can use the 2 three times. Or
>> you can use 4 once and 7 twice [...] The possibilities are endless
>> [...] I'm not a numerologist. I don't know why the number 3 is
>> more metaphysically powerful than the number 2, but it is. Passion
>> and enthusiasm, which sometimes can be enough to sway a crowd,
>> aren't even necessary. You can manufacture faith out of nothing
>> and there are an infinite number of patterns and lines that
>> connect from key to key..."
>> Is this a baffling to you as it seems to me?
>> Russ Hamm
> I have never thought of Bob Dylan as one of music's great
> theorists, and now I know why. His technical description is at
> least as confusing as some of his lyrics, which at least had the
> advantae of being obscure in a poetic way.
> What I was describing in the drumming discussion was rhythmic, not
> melodic. q e