I’m reading a lot Schenkerian analyses of blues right now in service of my forthcoming article about blues tonality. Each paper I read is wronger than the last. On the one hand, they fill me with righteous rage, but on the other hand, that rage does at least help me focus my arguments. Here are some particularly awful quotes from a scholar who will remain nameless, because I don’t believe that the racism is intended:
Blue notes, by nature, are alienated from their harmonic environment and have a dissonant relationship with them, giving the blues and all its derivatives a rough, angry character. Nevertheless, the hostility of blue notes toward the surrounding world may be mitigated—“domesticated”—through consonantization.
Blue notes (BNs), by nature, spoil the diatonicism of and cause dissonance in “clean” chords. But these notes may achieve their own independent harmonization, thereby being domesticated and turning into “environment-friendly” consonant notes.
The products of the consonantization of the BNs, which appear in a major-mode harmonic environment, are necessarily flatted degrees. These degrees turn the BNs from minor notes, which are “alien” to the major chords that build the basic harmonic progression, into “family” notes that are “at home” in these chords. The legitimacy that the flatted chords give the BNs is ostensibly the opposite of the “emancipation”that Arnold Schoenberg gave dissonant notes when he freed them from having to resolve to consonance, since the BNs by nature are dissonant notes with no obligation to be resolved.
However, the domestication of the BNs is an emancipatory act, since they thereby stop clashing with the harmony and instead become settled in it.
In Example 1(e), we see flatted or “minorized” degrees, among them VI and III. These degrees now include 3ˆ and 7ˆ not as BNs but in a mixtural framework—that is, as an insertion of flatted notes in a major key. Both of these—mixture and BNs—are common in the Beatles’ songs. Are they related? Ostensibly, they are two completely different things: the journey back in time in quest of the origins of blues will take us to the Mississippi Delta and from there to Africa, whereas the search for the origins of mixture, which is anchored in traditional harmony, will eventually lead us to eighteenth- and nineteenth-century Europe. The connection goes through the “domestication of BNs”—when it can be shown that a particular BN has changed from being outside the consonant harmony, in which case we may regard it as a garnish or a “disturbance,”to being an integral part of a consonant triad. If, for example, we can claim in a particular context that the III chord in Example 1(e) is based on a BN (G), then the status of this BN has improved substantially relative to its status in (c): instead of being an outsider, it becomes a distinguished member of the club of the flatted mediant without losing its blues character.
The status of these [blue] notes in the harmonic society improves substantially in part B: they become the roots of VII and III, and thus they become respected members of the community and live in consonant harmony with the rest of the notes. Their past is nevertheless evident in the descriptive term CBN, which is imprinted on their identity cards.
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