Which is a key tenet for learning–divide and conquer–reduce the thing being learned to a manageable repeatable chunk. BachĪ great way to learn how to do anything–working with the Spanish tinge for example–is reduce it to an essential, something simple that’s easy. The single notes in right hand could just as well be octaves or octaves with fifths. The essence–Jelly Roll Morton’s 3+3+2 rhythms as in the New Orleans Blues or Creepy Feeling–is in the left hand. In one of my first lessons at the New England Conservatory Jaki played Misty to demonstrate the Spanish tinge was for everything and everyone. I came to the Spanish tinge through the prism of Jaki Byard. Of course they were all influenced by Jelly Roll Morton. John, Professor Longhair, and others built their styles on that same rhythm. George Bizet used it in the 19th century in his opera Carmen. Very likely he came to it as a Cuban rhythm known as a habernera and which itself is basically a tresillo–two dotted notes followed by an note without a dot. Jelly Roll Morton’s Spanish tinge derives from at least a few different sources. It’s basically two dotted notes followed by note without a dot–the feel of it is 3+3+2.Ĭreepy Feeling is another well-known Jelly Roll Morton Spanish tinge. Here are two measures from the left hand part to show the general Spanish tinge. But why not? Jelly Roll Morton said, so it’s told, he invented jazz.Ī transcription of New Orleans Blues is in James Dapogny’s Ferdinand “Jelly Roll” Morton The Collected Piano Music. Here’s the seasoning exactly–Jell Roll Morton performing New Orleans Blues. If fact, if you can’t manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz. In one of my earliest tunes, “New Orleans Blues,” you can notice the Spanish tinge.
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