THE BLUES OR NOT THE BLUES
by Kirk Lorange

So, just what is the blues?

When I got the call to go out on an upcoming blues tour, I thought, Me, 'blues'? Then I looked at the other artists on the bill and wondered, Are they 'the blues'? Got me to wondering. Just what is the blues?

Does somebody simply playing a blues tune make them a blues artist? A purist will tell you, emphatically, No. But then a purist will tell you that no one since Robert Johnson has played the blues. Has it got something to do with the number of bars in the chord progression? Does your skin have to be certain color? Or should you be from a certain background? Does it matter one way or the other?

Probably not. The longer you play music, the more you learn about it, the more you see that it's just 12 notes. All styles are valid, all are just variations of tempo, syncopation, chord structures, harmony etc., all bound by the same rules. As long as they are well performed, they are all worth a at least listen. Who cares what they're called or what style they list under.

In any event, musically, from a player's point of view, the blues can be more easily pigeon-holed. Over the years I have distilled music into three categories for easy reference: Major, minor and the one that lives between: The Blues. Other styles that live in this in-between-major-and minor world would include jazz, R&B, soul music....

Major music I consider to be music written in a major key, using the chords of the key. National anthems, folk music (Peter,Paul and Mary were very major when they were major) traditional country, Irish music - all very major. Children's songs are always very major.

Minor music is simply music written in a minor key. No special rules apply.

Then there's the blues.

Most teachers would tell you about the blues scale, but since I never think scales, I merely describe the blues as that music form that allows the III to be approached via the flat III. In other words, the III of a major chord can be temporarily flatted to the minor III. It's the sound of the flat III in amongst the otherwise major quality, that to my mind and ear, says "the blues". The VII is also flatted, but is less distinctively "the Blues". It's that flat III, that blending of minor elements into a major key, that makes the blues. It used to be illegal (almost) back in the days of Mozart and Beethoven. Strictly verboten.

There is a quality, however, and we all know it when we hear it. It makes your heart ache a bit, makes the hair on your neck stand up. Almost impossible to put into words, it has to do with perceived sincerity -- I think. It comes when you, the listener, truly believe what you're hearing, when you can see yourself mirrored in the tune. The frank, personal nature of the blues' lyrics helps, but still, there is something more to it than that. (When Barbara Streisand throws a blues lick into her vocal line, it make you cringe. Joan Baez is another. No offence to you ladies, but you just can't sing the blues.)

Anyway, whatever the hell it is, I'm going to leave this for a while and pick up my old Gibson nylon, and go pokin' around some blues chords. I've only got about 2 000 000 ways through them, and I hear from a reliable source that there are over 43 000 000 ways through them.. Better get at it. Oh yeah, and for those who still haven't, buy my book, you too will know where to go pokin'! :-)

All the best from the Gold Coast Hinterland, as this chunk of planet Earth is known, a series of flat top hills about 15 miles inland from Surfers Paradise, tourist mecca and home of Australia's Indy Car Race. Beautiful one day, perfect the next.

Please, come visit my site. There're a few new things to check out. Lessons to learn and master, solid brass slides, Mp3 stuff, TAB lessons with some blues flat IIIs going on, some new graphics since we bought the scanner.

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