Tweet 'Dis! See Myna Fuddah Boids!
C Minor Blues - The Last Four
Actually, the subject of this post is neither the bird, the man, nor his "Ornithology".
Rather, based on the positive reaction to recent posts (here & here), which take 8 bar sections of tunes for study and analysis, this one focuses on the last 4 measures of a typical "Mr. PC" type C Minor Blues (bVI7-V7-i), for which I've scribbled out a dozen (12, count 'em) 4 bar mini-etudes.
A good precursor to this post, and where you'll find the basic premise for this exercise, would be this post from 2013, which deals with the same VI7-V7-i movement, with the accompanying exercises focusing on the Melodic Minor derived Pentatonic b6 mode.
It's probably a good idea to check that one out, as there isn't much to add here in the way of a basic harmonic breakdown.
The dozen lines presented here are a bit looser in their scale choices, although Melodic Minor still predominates.
After all, it is supposed to be a Minor Blues, right? ...or a piece of one, anyway.
The basic melodic material for the different lines is made up from Melodic Minor (Penta b6, Triad Pairs, MM BeBop), Diminished Scale (Penta b2), Augmented Scale, and the good ol' Dorian Mode.
Material wise, It doesn't go any farther than that.
As you play through these lines, see if you can identify some of the above named elements.
If some of this stuff comes across as ancient Sanskrit, then please feel free to go archeological and dig the archive of Recent Posts by category (also listed down the left side and bottom of the Home Page). These elements are also featured in all of my books.
Hopefully, it might then become at least as comprehensible as say, Pig Latin.