I Insouciance1    n@@@!@@@@@!A@@@@!@@@@@!@@@@@@!A@@@@@@!@@@@@!@@@@@@!A@@@@@@!@F@F@F@F@F@FR@F@F@F@F@F@F@@@!@@@@@!@@                                                      %( nU;Concert Key Bb; Harp Eb Mixolidian (transpose -3half tones)!MTempo: half; Key: G ; Harp C Mixolidian (sense transposar, en el to original)(B J!~HTCLB.STY 5(8A,8A,12B,8A) 3times+8cx2+16AA+TagTempo = 220J.J. Milteau, I.Vernerey Key Bb; Harp Eb & CBastille Blues, J.J.Milteau,1999; Carish;M.INGLES,2k9-wIInsouciance Concert key Bb (les seccions A del tema); en G (el pont); Tempo 220; Estructure: (8A,8A,12B,8A) 3times+8cx2+16AA+Tag; Harp key Eb en Mixolidian position per les seccions A, transpose -3 half tones; amb Harp C Mixolidian per el pont, NO cal transposar; Composer: Jean Jaques Milteau, I.Vernerey Font: "Bastille Blues. 14 transcriptions pour harmonica relevs note pour note, solfge et tablatures avec grilles de guitarre"; Jean Jaques Milteau, (et Manu Galvin pour les grilles de guitarre); Editions Carish Musicom, 2000; Band in a Box Version: M. Ingles, 2k9 Comments: A un tempo frentic en el ms pur estil Gipsy-swing (conegut tamb com "Manuche" o "Sinty", depenent de quina tribu gitana s'agafi com a referent). El fraseig es pura pirotcnia musical que obliga a exercicis interessants per dominar aquesta tcnica efectista. Es un recurs ms, de tota manera, i es una opini personal, trobo que aquest tipus de fraseig est determinat per la prpia tecnologia constructiva de l'harmnica diatnica i des d'un punt de vista jazzstic, i fins i tot musical, no aporta coses interessants al patrimoni jazzstic, i seria prcticament impossible transferir a un altre instrument (trompeta, saxo, piano...). En aquest sentit el fraseig d'un Louis Armstrong o un Charlie Parker, per posar dos extrems, sn molt ms interessants, cromticament ms rics, i transferibles a altres canvis d'acords. Es tant sols constatar una diferncia formal o el tema va ms a fons? Em decantaria per la segona hiptesi. wMZ@MZ 8KZ@JZ HZ@FZ`xEZHZ@hAZV%PZ@PZ OZ@HMZ pKZ@JZ`8 HZ#` V% MZ`( FZ V% TZ RZ@ PZ 0 OZ@ MZ KZ@ JZ HZ@p JZ MZ@ JZ HZ@`FZ DZ@AZ FZ@PAZ xEZ@FZ#V%@JZ hFZ@FZ#V%MZ@MZ 8KZ@JZ HZ@FZ`xEZHZ@hAZV%PZ@PZ OZ@HMZ pKZ@JZ`8HZ#`V%MZ`(FZV%TZ RZ@PZ 0OZ@MZ KZ@JZ HZ@pJZ MZ@JZ HZ@`FZ DZ@AZ FZ@PAZ xEZ@FZ#V%@JZ hFZ@FZ#V%!HZ"JZ "KZ@#MZ`x#OZ##V%$KZ@h$MZ%V%%HZ`H&JZ p&KZ@&MZ`8'OZ'KZ@((MZ(V%@)MZ*OZ 0*PZ@*RZ`*SZ+PZ@+RZ,V%P-MZ`-OZ -PZ@@.RZ`.SZX/PZ@/RZH0V%0HZ1JZ 1KZ@2MZ`x2OZ3KZ@h3MZ4MZ`4KZ@H5JZ#p5V%5HZ`86GZ#`6V%6CZ`(7DZ#P7V%7CZ#7V%@8MZ@8MZ 8KZ@9JZ 09HZ@9FZ`9EZ:HZ@:AZ;V%<PZ@P<PZ x<OZ@<MZ <KZ@@=JZ`=HZ#=V%0>MZ`>FZH?V%@TZ 8@RZ@@PZ @OZ@AMZ (AKZ@xAJZ AHZ@AJZ BMZ@hBJZ BHZ@BFZ CDZ@XCAZ CFZ@CAZ CEZ@HDFZ#pDV%DJZ DFZ@8EFZ#`EV%FZ@IZ 8FZ@FZ#V%IZ (FZ@xFZ#V%AZ`hAZ#V%DZ`XFZ#V%НIZ FZ@HFZ#pV%AZ FZ JZ 8MZ `RZ@OZ ؟PZ@(OZ PMZ xPZ MZ ȠKZ@JZFZ@DZ 0FZ@JZ FZ@AZ DZ@pFZ DZ@CZFZ (JZ PMZ xPZ RZ ȥOZ U~V~KZJZ,MZJPZhU~hV~hTZWZRZ¦OZU~V~PZTZVZ:YZXU~XV~X[ZvWZRZPZЧTZ VZ YZ H^Z`^Zs8V%FZ U~V~CZAZCZ0 CZsV%U~V~V%.>ZLAZ0U~V~CZFZCZ0FZ@PCZ#xV%CZ AZ#V%>Z @>Z#hV%>ZKV%XFZ@GZ#V%HAZ@CZ#V%8Z#V%AZ >ZU~V~V%>ZCZGZJZU~V~OZ6LZTMZrLZU~V~JZMZJZ HZCZFZ@XCZ U~V~AZCZFZCZU~V~HZCZ4FZRJZpV%pU~pV~HZJZU~V~HZFZ$CZ0`U~`V~`HZ~JZHZFZU~V~CZAZCZ2FZPV%HZ`JZ @U~@V~@HZ^FZ|CZAZU~V~CZ>ZAZAZ0V%@Z#V% U~ V~\JZzMZU~V~V%OZPZU~V~QZ0LMZjOZLZ MZ JZ U~V~IZHZ<CZZFZxU~xV~xCZ>ZAZCZU~V~FZCZ,AZJ>ZhU~hV~h=ZZMZPZ 8QZ`U~V~RZ0OZ QZ0(U~(V~(V%FMZdJZMZU~V~CZ0OZWZU~V~YZ0TVZrXZHU~V~TZYZOZ`OZ KZ MZ JZ IZ HHZ pIZPV%@MZ@MZ KZ@JZ 0HZ@FZ`EZHZ@AZV%PZ@PPZ xOZ@MZ KZ@@JZ`HZ#V%0MZ`FZHV%TZ 8RZ@PZ OZ@MZ (KZ@xJZ HZ@JZ MZ@hJZ HZ@FZ DZ@XAZ FZ@AZ EZ@HFZ#pV%JZ FZ@8FZ#`V%@MZ@MZ KZ@JZ 0HZ@FZ`EZHZ@AZV%PZ@PPZ xOZ@MZ KZ@@JZ`HZ#V%0MZ`FZHV%TZ 8RZ@PZ OZ@MZ (KZ@xJZ HZ@JZ MZ@hJZ HZ@FZ DZ@XAZ FZ@AZ DZ@HFZ#pV%IZ FZ@8FZ`AZ DZ@( FZ#P V% IZ FZ@ FZ#@ V% AZ DZ@ FZ#0 V% IZ FZ@ FZ V% IZ@ JZ#V%ʊ ""$mtt tII$,III,2III24III4@I II@FIIIFHIIIHPIIIPVIIIVXIIIXdI IIdjIIIjlIvv|vvv 8 5