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text with melody& &object2_22=t|279|100|100|100|69|255|100|0|0|center|1|3|3|0|0|18|0|0|1|2|Final 4 bars of rhyming text cx26 new melody& &object2_23=t|274|100|100|100|71|204|100|0|0|center|1|3|3|0|0|14|0|0|1|2|can be slightly altered or embellished& &object2_24=t|338|100|100|100|46|53|100|0|0|left|0|1|2|0|0|28|0|0|1|2|Finding the Form of ...& &object2_25=js|289|45|60|60|401|152|100|0|13|1|1|longharmonya1letters.swf|1|0|0|0& &object2_26=js|296|45|60|60|398|220|100|0|13|1|1|longharmonya2letters.swf|1|0|0|0& &object2_27=js|307|51|58.5|58.5|398|288|100|0|13|1|1|longharmonybletters.swf|1|0|0|0& &object2_28=r|279|100|100|100|33|329|50|0|14|1|1& &object2_29=js|233|52|57.6|57.6|164|360|100|0|0|1|1|aab.swf|1|0|0|0& &object2_30=t|111|100|100|100|43|343|100|0|0|right|1|3|3|0|0|18|0|0|1|2|The 12 Bar Melodic Textual Form& &object2_31=r|279|100|100|100|338|329|50|0|13|1|1& &object2_32=t|117|100|100|100|337|343|100|0|0|right|1|3|3|0|0|18|0|0|1|2|The 12 Bar Harmonic Chordal Form& &object2_33=js|289|45|50.6|50.6|463|335|100|0|0|1|1|longharmonya1letters.swf|1|0|0|0& &object2_34=js|296|45|50|50|461|369|100|0|0|1|1|longharmonya2letters.swf|1|0|0|0& &object2_35=js|307|51|49.5|49.5|458|400|100|0|0|1|1|longharmonybletters.swf|1|0|0|0& &object2_36=t|274|100|100|100|349|182|100|0|0|center|1|3|3|0|-3|16|0|0|1|0|2 bars of SubDominant (IV) Chord 2 bars of Tonic (I) Chord& &object2_37=t|277|100|100|100|344|254|100|0|0|center|1|3|3|0|-2|15|0|0|1|0|1 bar of Dominant(V) , 1 bar of SubDominant(IV) and 2 bars of Tonic(I) Chords& &object2_38=t|113|100|100|100|513|21|80|1|20|left|1|13|3|0|0|18|0|0|1|1|t = Tonic s = SubDominant d = Dominant& &numberOfObjects3=21& &object3_1=r|368|231|100|100|15|208|50|0|13|1|1& &object3_2=t|582|100|100|100|17|4|100|0|0|left|1|8|4|0|0|40|0|0|1|2|The Blues& &object3_3=t|208|100|100|100|106|3|100|0|0|left|1|3|4|1|0|40|0|0|0|1|Algebra& &object3_4=t|340|100|100|100|53|47|100|0|0|left|0|1|2|0|0|28|0|0|1|2|Simplified and Sung& &object3_5=r|368|84|100|100|15|102|50|0|14|1|1& &object3_6=t|364|100|100|100|16|102|100|0|0|left|1|3|3|0|0|22|0|0|1|2|The 12 Bar Melodic Textual Form& &object3_7=js|233|52|73|73|21|136|100|0|0|1|1|aab.swf|1|0|0|0& &object3_8=js|125|41|100|100|250|135|100|0|0|1|1|2ab.swf|1|0|0|0& &object3_9=t|46|100|100|100|194|125|100|0|0|center|1|3|4|0|0|45|0|0|1|1|=& &object3_10=t|365|100|100|100|17|212|100|0|0|left|1|3|3|0|0|22|0|0|1|2|The 12 Bar Harmonic Chordal Form& &object3_11=js|608|57|60.3|60.3|17|312|100|0|0|1|1|harmony3.swf|1|0|0|0& &object3_12=t|46|100|100|100|178|273|100|0|0|center|1|3|4|0|0|38|0|0|1|1|=& &object3_13=js|589|41|62.7|62.7|16|256|100|0|0|1|1|longharmonylettersFULL.swf|1|0|0|0& &object3_14=t|46|100|100|100|179|339|100|0|0|center|1|3|4|0|0|38|0|0|1|1|=& &object3_15=js|575|57|64|64|16|383|100|0|0|1|1|harmony4.swf|1|0|0|0& &object3_16=t|370|100|100|100|15|423|90|1|20|center|1|13|3|0|0|14|0|0|1|1|t = Tonic chord s = SubDominant chord d = Dominant chord & &object3_17=r|241|304|100|100|387|112|40|0|16|1|1& &object3_18=t|247|100|100|100|389|266|100|0|0|left|1|3|3|1|0|18|0|0|1|0|I'm gonna Factor Linear Equations, and Slope on Down the Line. I'm gonna Factor Linear Equations, and Slope on Down the Line. gonna follow the Order of Operations, so my Teacher won't leave me cryin'.& &object3_19=js|133|170|112.6|112.6|479|-19|85|0|20|4|1|maths2.jpg|2|0|0|0& &object3_20=t|238|100|100|100|390|121|100|0|0|left|1|3|3|1|0|18|0|0|1|0|Everyday, Algrebra gives me The Blues. Everyday, Algrebra gives me The Blues. Feel like the Pythagorean Theorem, is Stranglin' me with its Hypotenuse.& &object3_21=js|345|21|100|100|138|79|100|0|0|1|1|AlgebraBlues1.swf|7|0|0|0& &numberOfObjects4=15& &object4_1=js|386|258|90.1|90.1|305|-15|75|0|20|3|0|coltraine_86140.jpg|2|0|0|0& &object4_2=t|274|100|100|100|237|399|100|0|0|right|1|17|3|0|0|22|0|0|1|0|Now Listen to it!& &object4_3=t|314|100|100|100|32|13|100|0|0|left|1|8|4|0|0|46|0|0|1|2|The Blues& &object4_4=t|267|100|100|100|37|68|100|0|0|left|0|1|2|0|0|28|0|0|1|2|Filling in the Form& &object4_5=t|440|100|100|100|14|126|63|0|10|center|1|3|3|0|0|16|0|0|1|2|Soloists traditionally use a certain scale as the foundation of their improvisation. This "Blues Scale" it is built from intervals unique to the Blues form, highlighting specific scale degrees from whichever one of 12 keys is being used:& &object4_6=t|305|100|100|100|327|38|100|0|0|center|1|3|3|0|0|18|0|0|1|1|Beyond Melody, Lyrics, Harmony and Chords, The Blues requires another vital component ...& &object4_7=js|306|59|83.2|83.2|366|189|100|0|0|1|1|BluesScale.swf|1|0|0|0& &object4_8=t|614|100|100|100|12|235|100|0|0|left|1|3|3|0|0|18|0|0|1|0|One way to begin to understand the plethura of options used by the soloist when improvising is to consider the number of choices she or he has to play a solo using the Blues scale.& &object4_9=t|264|100|100|100|351|96|100|0|0|center|1|3|2|1|0|22|0|0|1|0|IMPROVISED SOLOS& &object4_10=t|609|100|100|100|13|283|100|0|0|left|1|8|3|0|0|18|0|0|1|0|So, as a first step - if there are six "items," and we want to consider all the options of arranging them for a solo passage without repetition, we can use Factorials to help us see the possibilities -& &object4_11=r|72|36|100|100|536|337|100|0|9|1|1& &object4_12=js|752|57|68|68|99|338|100|0|0|1|2|6factorial_14826.swf|1|0|0|0& &object4_13=t|544|100|100|100|66|376|100|0|0|right|1|3|3|0|0|16|0|0|1|0|Check it out! That's an impessive number of options for arranging the 6 pitches of the Blues Scale!& &object4_14=t|369|100|100|100|26|200|100|0|0|left|0|8|2|0|0|16|0|0|1|0|The scale degrees of the Blues Scale are - & &object4_15=t|110|100|100|100|479|422|100|0|0|left|1|16|3|0|0|14|0|0|1|0|(Go to the Next Slide)& &numberOfObjects5=13& &object5_1=t|604|100|100|100|20|325|100|1|18|center|1|3|3|0|0|26|0|0|1|0|For the solo excerpt you are hearing, the saxophone selected only 12 of these available arrangements (6 per 12 bar chorus)!& &object5_2=t|314|100|100|100|35|6|100|0|0|left|1|8|4|0|0|46|0|0|1|2|The Blues& &object5_3=js|306|59|90.3|90.3|177|186|81|0|14|1|1|BluesScale.swf|1|0|0|0& &object5_4=r|64|34|100|100|496|281|100|0|9|1|1& &object5_5=js|752|57|50.8|50.8|175|285|100|0|0|1|2|6factorial_14826.swf|1|0|0|0& &object5_6=t|452|100|100|100|18|122|100|0|0|left|0|8|2|0|0|18|0|0|1|0|In the key of B-flat, the Blues Scale pitches are - & &object5_7=js|81|85|168.6|168.6|462|113|70|0|0|1|0|logo_jazz25_1_55688.jpg|2|-44|0|0& &object5_8=t|209|100|100|100|423|21|80|0|0|center|1|4|2|1|-4|20|0|0|1|1|SAXOPHONE SOLO on the Blues Scale& &object5_9=js|274|49|100|100|173|147|100|0|0|1|1|BflatScale.swf|1|0|0|0& &object5_10=t|553|100|100|100|38|78|100|0|0|left|0|1|2|0|0|28|0|0|1|2|Hearing Improvisational Permutations& &object5_11=t|452|100|100|100|18|235|100|0|0|left|0|8|2|0|0|18|0|0|1|0|And remember, the total number of choices of nonrepetitive arrangements of these pitches are - & &object5_12=t|463|100|100|100|89|389|100|0|0|center|0|1|3|0|0|16|0|0|1|0|As you listen to the 2 solo choruses you can count the non-repeating 6 pitches used for each solo 4 bar phrase played by the saxophonist.& &object5_13=js|345|21|100|100|86|58|100|0|0|1|0|AlgebraBlues2.swf|7|0|0|0& &numberOfObjects6=31& &object6_1=js|500|375|89.7|89.7|201|65|74|0|0|1|0|algebra_board.jpg|2|0|0|0& &object6_2=t|615|100|100|100|14|88|100|0|0|left|1|3|3|0|0|18|0|0|1|2|Now, things get more "exponential" because the soloist most often uses all 12 pitches within an octave scale (not just the 6 pitches of the blues scale), especially in fast moving passages of the solo. So, in Factorial terms, that would be ...& &object6_3=t|314|100|100|100|32|13|100|0|0|left|1|8|4|0|0|46|0|0|1|2|The Blues& &object6_4=t|199|100|100|100|434|4|100|0|0|center|0|1|2|0|-3|24|0|0|1|2|More Improvisation Permutations& &object6_5=r|391|83|100|100|15|258|100|0|18|1|1& &object6_6=t|58|100|100|100|117|263|100|0|0|left|1|4|1|0|0|30|0|0|1|1|n!& &object6_7=t|92|100|100|100|97|297|100|0|0|left|1|4|1|0|0|30|0|0|1|1|(n-r)!& &object6_8=r|77|3|100|100|95|295|100|0|4|1|1& &object6_9=t|42|100|100|100|5|258|100|0|0|center|0|4|1|0|0|28|0|0|1|1|n& &object6_10=t|34|100|100|100|29|267|100|0|0|center|0|4|2|0|0|46|0|0|1|1|P& &object6_11=t|42|100|100|100|36|295|100|0|0|center|1|4|1|0|0|28|0|0|1|1|r& &object6_12=r|608|95|100|100|14|345|100|0|18|1|1& &object6_13=t|34|100|100|100|60|269|100|0|0|center|0|4|2|0|0|40|0|0|1|1|=& &object6_14=t|246|100|100|100|157|257|100|0|0|center|1|3|3|0|0|22|0|0|1|0|The number of Permutations of "n" different things taken "r" at a time.& &object6_15=t|301|100|100|100|20|352|100|0|0|left|1|8|3|0|0|20|0|0|1|0|So, for example, the number of Permutations of 6 tones of the Blues Scale 4 PITCHES AT A TIME, is:& &object6_16=r|185|36|100|100|416|155|100|0|9|1|1& &object6_17=js|1030|63|55.5|55.5|32|159|100|0|0|1|2|12factorialabrv.swf|1|0|0|0& &object6_18=t|618|100|100|100|14|188|100|0|0|left|1|3|3|0|0|18|0|0|1|2|But there's more to it! Soloists rarely play a complete permutation of a set of pitches (from 2 to 12) without repeating a note. Most often, they play smaller figures and passages selected from a permutation set. 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Do you get& &object8_5=t|610|100|100|100|28|24|100|0|0|left|1|8|4|0|0|46|0|0|1|2|J.E. Wants to Know...& &object8_6=t|338|100|100|100|293|359|100|0|0|left|1|8|4|0|0|50|0|0|1|1|The Blues?& &object8_7=t|233|100|100|100|128|456|100|0|0|left|0|3|1|1|0|9|0|0|1|0|Final Slide in this Section - Please go back to Main Menu& &object8_8=s|JE_Everyday_2_35672.mp3&