Así es como el blues cambió la música para siempre - Ep. 57

Added: 2026-05-12

[00:00:01]Welcome to Jumpcast. We are Ivan, Mau, I am Luis and today we are going to talk about the blues. From the blues. He's not going to give us an hour and a half, two hours to talk about everything related to the blues.

[00:00:16]We're going to have a lot of flames, I hope. And well, there you go.

[00:01:24]Hehehe.

[00:04:13]Something like that was the ending, wasn't it? I think I really messed it up. Since the drum is applied there, the turun goes more or less.

[00:04:31]Yes, little bluccito.

[00:04:33]Bluccito. That's a little blue. Why is that a Blu-ray?

[00:04:36]Okay, Ivan, why? Why is it a blue, Ivan?

[00:04:38]Tell us. Well, over time, since the emergence of the Blues, a kind of formula, a 12-bar structure with a certain chord quality that makes it sound like the Blues, became standardized, right?

[00:04:52]That's its main identifier, that's its... Well, yes, we could say 12-bar structure where there are basically three chords.

[00:05:01]Bring a whiteboard, I'll bring a whiteboard.

[00:05:03]He did his homework. He did his homework, homework. So, let's write that down. I'm going to leave the bass out a little.

[00:05:11]You can go on, you can continue.

[00:05:13]Okay. So, within these 12 measures we have a first chord which is, well, let's call it the first degree, which is played with chords with, well, dominants or major chords with a minor seventh, for example, G, C, D, that type of chord. So the first one will live in the first measure and will last for the first four measures. Luis is writing it down there.

[00:05:39]Professor Luis.

[00:05:40]Professor Luis. There it is.

[00:05:42]First grade, right? In this case we were in sun, so we put our first degree like this.

[00:05:47]Exact.

[00:05:48]No, that's the focus here, isn't it? If my face is in focus, it comes into focus.

[00:05:50]Exact. Okay.

[00:05:51]There we are. So that chord, in the most well-known structure, lasts for the first four bars, right? Uh-huh.

[00:06:01]that keeps repeating that it's playing. Next comes what is known as the fourth degree, which will last four measures, which in this case would be a do. It lasts two bars.

[00:06:12]Two bars, sorry. Yes, two bars. It lasts two bars. Ah, this was the other way around, folks. It was just like that, I was writing it backwards, that's how it came out the other way.

[00:06:21]Exact. Then it comes again, we return to the first, first grade again sun. Two measures.

[00:06:26]Two measures.

[00:06:27]And then comes the last line, we're going to the fifth.

[00:06:30]Fifth grade, which in this case is re. Then we'll go to the room.

[00:06:34]Fourth, then first.

[00:06:36]First and then sun.

[00:06:38]Fifth.

[00:06:39]And then fifth.

[00:06:40]That's when what's known as the turnaround of those two comes in. The last two.

[00:06:45]The last ones. Yes. These two. What's up with those two?

[00:06:52]Oh, he really knows the Blues, huh?

[00:06:55]There are a lot of turnarounds, aren't there?

[00:07:01]Hell yeah. Yes, yes, yes. Look, we went to Sol, which isn't good. Yes, it is popular, for example, my one world. Yes, for guitarists, right? Because originally it was more common in c-flats and those shades of flats.

[00:07:16]So, that's the basic 12-bar blues structure. So, if we replaced the chords, that is, removed the chords and kept only the degrees, then you could practically move it to any key you want, right?

[00:07:30]We'll talk about me in a bit. So, in the " my" it would be, for example, the first degree would be "my", the fourth degree would be "the", and the fifth degree would be a "seven".

[00:07:43]So, if you want, we can play it on me right now just to give an example.

[00:07:48]Okay, we're going to play it and it would also be cool if the audience at home could pay attention to the sound of each chord.

[00:07:56]Maybe it shouldn't be so complicated, I mean, it should be kept simple.

[00:08:00]Exact. Like a backing track. And listen to the sound of each chord, the tension it generates, and the resolution it also generates, right? Because I think that's going to be important later on.

[00:08:11]Very important.

[00:08:12]Okay, that's it, right?

[00:08:14]One, two, three. We 're at home, aren't we?

[00:08:47]Relax. A different development is coming and we're going back home.

[00:08:54]Then comes the tension, right? If we stay on this chord, it feels kind of strange.

[00:09:02]Then we'll take her home. No, I messed up, didn't I? I think we should do a stop time there.

[00:09:27]Leave it, leave it, leave it unresolved. It's like it asks you for that, and at the same time, you can't just leave it there, right? It's like it's asking you to go back to that, I don't know if you wanted to make an extra observation there in that pattern. It's cool how it kind of suggests the idea of doing a halftime show, right? Rhythmically or a silence. In other words, if we force it, for example, if we only mark one, if we come to the part where you want to make a silence.

[00:10:04]Do the full loop there. obliged crechendo.

[00:10:36]Obliged. It's gone.

[00:10:42]It's not for this one.

[00:10:46]Well, right now we're venturing into rhythm and how we can vary it.

[00:10:50]Exact.

[00:10:50]But they were illustrating the degrees and the sounds, weren't they?

[00:10:53]Exactly. Yes. There are cadences that occur and generate tension and resolution, which, as Luis already said, the first degree will always be the point of maximum rest and the fifth degree will be the point of maximum tension.

[00:11:08]So, that fifth one will always tend to go like the first one, which is the classic. Uh-huh. If you change one degree, Ivan, what happens?

[00:11:15]Oh, it's not the blues anymore.

[00:11:17]Yes, it is blues. Okay.

[00:11:19]But if you want that, we can do it a little later.

[00:11:22]Why do you think I don't know if you have that info, Ivan, about why those degrees, dude?

[00:11:29]Well, in my opinion, we can go back a little to the origin of the Blues, which was in the 19th century in the United States. We all know about the situation of slavery that existed there, and it was in the state of Mississippi that the Blues was born as a need, I think, an emotional need for people to express themselves. Then they started to make chants, uh, first like work chants, that is, to keep the rhythm of the work they were doing. They also needed to talk about what was happening to them, right? From their clothes, literally, from the very hard life they led. It was like her only form of expression. And this is indeed a personal point of view. I think that because the Blues has a lot of improvisation, I think it was like their only way of being free. It's very strong to say it like that, but they kind of had that freedom, it can be seen that way. Of course, if we're not in a frame.

[00:12:21]Exact. To become one and to be free within the slavery they were living in. That's a personal point of view.

[00:12:28]But well, it came about that way and from there, obviously, it started to evolve, right? To mutate. It began to mutate. Then came what was called Delta Blues, which was like these soloists like Robert Johnson, like S House, who was that dude with his little guitar and who did these kinds of songs, but it still didn't sound like that very defined structure. I think that was a little more like after the 19th century when there was also a very large migration, well, obviously slavery was abolished in the United States.

[00:12:59]Then these black people begin to migrate north, the electric guitar emerges, and that's how that structure, that structure that we know to this day, begins to be founded, right?

[00:13:14]So that's roughly the origin of the blues, right?

[00:13:18]Yes. To avoid giving a history lesson.

[00:13:20]Not a history lesson. Exactly.

[00:13:22]But it comes precisely from "it's good, that 's really messed up," but it comes from "the pain," dude. I think the blue, like blues means that, like sadness, like pain. I mean, it comes from there, dude. Yes, I did n't know that.

[00:13:35]Yes, yes, yes. Gy.

[00:13:36]Well, sadness in Inside Out.

[00:13:39]It's blue. Well, maybe it's a coincidence.

[00:13:42]Who knows if that's the direction colorimetry is heading, I mean, what I see is that its origin isn't pretty? I mean, yes, it comes from very, very specific situations, especially there, right? Because I clearly believe that music has these variables in which there is always protest, there is always a way of expressing oneself because it was a channel for many people who didn't have, I mean, in that case they didn't have an alternative and here they do, and here I have the freedom you're talking about, right? I agree 100%.

[00:14:10]I think it can go that way, but in general music has been used as a form of expression, as art, to say what you can't say with words and so on, right? So, yes. And at the beginning it wasn't really instrumental, it was totally vocal, that is, because they didn't have any instruments. Suddenly there were some slaves who played the violin, the baba, but mostly it was vocal. And in fact, what the guitar does is kind of copy it, I mean, all of this, the bends are like that vocal play, right? Hey, was it established—I don't know if you have that info—was it established as a result of someone touching it and that establishing it, or is there a rule? There is a prior rule because clearly the music comes from, well, I think there are many African roots, like precisely the rhythm and all that, and it comes from, I mean, the somewhat traditional songs of Africa, but as for how it was established, I don't know, but exactly, but it has a lot of influence from that and I think that the structure, what we are playing right now, what we wrote on the board, came about over time, I mean, it wasn't like, "Ah, you absolutely have to play this." Because if you listen to Roy Johnson, this is House, that 's not so pronounced. It was like it just happened over time.

[00:15:22]Yeah, this is already an evolution, dude. It used to be like a chord, dude. I heard things that lights that were a chord and that's it, dude. Or at most they would go to the fifth floor, return to the first, and that was it. I think it was established more as a form, and I say this only from what I believe, precisely a way of expressing oneself, a historical movement that was later given a technical form, and I think that these being the forerunners, this is what we absorbed from the first people who touched on this.

[00:15:50]So, I think it can be developed and established from there within the frameworks that currently exist, right? genres and so on, but at the time it was probably this, the blues is a way of expressing oneself, in fact I've seen it in movies, I don't know if they were, they were even sometimes without rhythm, dude.

[00:16:06]It was like n plus the Exact one. At one point, they were probably doing something else and saying another sentence, and someone would answer and they would say another sentence, right? It was like the ch che chin ch che ch that exists now, wasn't it? Yes, this is a result of decades of evolution, I believe. That's kind of what Rhythm and Blues is, this combination where the blues is, I see the Blues as a framework that we're currently taking to a theoretical, technical level, right? The degrees are what they are, but not really, because it's like rock, dude. We currently see rock as a marked structure of musical elements, probably song structure, musical references, but really rock was also this part of which, as a movement, a large part of the genres of music, especially those, the rough ones, started. Exact. I think we'll talk about that too, but rock inherits that rebelliousness, because blues was all about, like, dude, yeah, I 'm screwed here, but I sing about my master, right? And I'll throw it at him and whatever, right? So I think rock music inherits that attitude, right? Rebel.

[00:17:20]A bit. Uh, to quickly mention another technical aspect. For us musicians, the blues structure is something basic, isn't it? The blues structure for a musician, you have to bring it right away. I mean, I was wrong, I admit it. I've made many mistakes playing the blues, but it's a structure that every musician should know, right? Because for me, the 12- bar blues structure is like the map, the foundation that gave rise to so many, many, many other genres.

[00:17:58]I would dare to say that, wow, a large part of everything we listen to comes from the Blues. There would be no Beatles if there were no blues. And if there were no Beatles, well, we already know what would happen. And then there's that awful movie.

[00:18:12]But it is like our basic map to feel safe, to be playing there, to be able to improvise there, to easily understand the changes. It's very easy to hear it, like it's calling you, is n't it? The next chord, and once you 've played it so many times, it kind of sticks. So, it's very important if you're a musician to know the basic structure of the 12- bar blues.

[00:18:38]Yes, in fact, I mean, almost all of my students like rock, so when they come in like from scratch, I tell them, "Okay, hang in there." I mean, obviously we're going to get there, but the very first thing is to play blues, because that's precisely where it comes from, we'll talk about it later, but that's precisely where it comes from, it's the basis of modern Western music and there are still hints, many hints of blues in what we're listening to right now, dude, right? It kind of became standardized into a sound, you'd say, I mean, it kind of, I mean, because it still blows my mind a bit that it really was like a, well, like a lifestyle. This sounds like a cliché, doesn't it, that I am a lifestyle, but it really did work that way. So, suddenly seeing it represented with sounds, that's why I was asking you, right?, if it was really something that someone within that same expression passed it to an instrument and spoke in that way or vocally to say, "Ah, the blues is this." Bang, bang. Because it also seems to me right now, within the social framework and current events, it seems like a school term.

[00:19:43]Uh, don't talk.

[00:19:44]Yes, right now it is because it's already been pigeonholed, right? And it has already been analyzed, it has already been studied, it has already been made more academic, but it does not arise from there. It doesn't come from there. And it would be really cool to have that school for everyone, because I feel like everyone is like, what do you play, like rock? What pop music do you play? And like, I do n't know, I imagine a bluesman from that era is like, bro, I'm feeling, I mean, like I'm saying little and feeling everything, you know? I don't really need to say that much, no, I don't say that much, technically I'm not pigeonholed into a genre. I say little, but I feel a lot, right? Of course.

[00:20:18]And that has to do with everything you're saying, right? Pain, this, the time.

[00:20:23]So it's cool that you can also say, dude, you're playing almost a heartbreaking lyric of dude, I'm I'm bleating, dude, I'm taking it all out, yeah, exactly. And as you rightly point out, I think one of its characteristics is that it's easy, dude. So I think that for the majority of the population it was also very easy to accompany a blues song, to play a blues song, and to this day, right? And I repeat, that's why I always do it this way with students: the first thing is the extra, that is, let's get into it, it's easy, the structure is simple, the chords are simple, so I think it's a very good starting point if they want to start playing like rock and all that and start to understand it a little more.

[00:21:03]I'm interested in knowing how it was translated.

[00:21:04]So, if you were saying that in the past there were black people bluesing with their voices, but how was it translated? Uh-huh. That? But, like, how did you translate "to a Beatles," for example, right? I mean, to say, I was a black man of this era and sinti and blucear was what I'm expressing, right? And those phrases, that rhythm, etc., came from my soul. How did it translate to the virile saying, I mean, I'm a bluesman or I'm bluesing because we're going to express ourselves like the Beatles as an individual, right? I mean, dude, how come he wasn't going that way anymore? Uh-huh. Ah, you count. Well, in my opinion, the Blues became popular later, in the United States or America, however you want to call it, but there was always a lot of supervision by white people, right? So, I think that's where it started to become standardized in that way, because they gave it more structure and sold it, that is, they started to market it.

[00:21:57]Exactly. Capital. Uh, what happened next were very, very big icons. I mean, the greatest was perhaps Chockberry, I mean, a black guy who started to combine the ridlu with the blues, etc. And I think the big difference is that in England the blues arrived a lot, but without the social context, dude. I mean, without this whole " we're slaves" thing. And then the records would arrive, I mean, the records would arrive and people like the Beatles and other bands were heavily influenced by Chuck Bearry and all these bluesmen, but without that context of "we're good, we come from slavery, we're black." I'm not saying this so much because of slavery, but I feel like, yeah, there could be a black guy turning around and saying, like, you took my phrasing and you're a bluesman on camera, but you 're not playing the blues, you know what I mean? I mean, it's like you don't have the context. And that's why he was talking to me about the translation, how some bigwig or someone with the capital to pull the strings said, "Your lyrics are cool, you feel pain, okay, this is here, but it has to be sold. So let's take a look at what you did with the vocals. I mean, I'm putting it bluntly, right? But we'll establish this as blues because it fits within your life context. Yes.

[00:23:07]So, I saw that he more or less uses phrases like this, and musically, someone came along and said, "Ah, well, this is with a guitar and this in the chords, etc." But it really would be blues, right?

[00:23:19]Yes, yes, yes, it would be blues, because even Miles Davis said so, dude. It's like, "I did n't suffer slavery, but I know how to play the blues, right?" "I know how to communicate that blues."

[00:23:30]Okay. Well, right now, clearly taking it out of the musical framework is impossible. I mean, with Blue Blues and its narrative, you might say, "This guy's out of it, right?" But I think it came a lot from there, yeah, from someone naturally starting to, I imagine a Black guy on the street, throwing out phrases within his life context, and that's how the blues was generated, and then it was given a name, or instruments were added, so to speak. They were added right when the percussion was added. I don't know if the drum kit already existed at that time.

[00:24:01]Exactly, exactly, because before, I understand that it was, well, in fact, there's a documentary, yeah, where you see a guy showing off with the harmonica, and another guy with the bass drum, someone else with a snare drum, and someone else with another percussion instrument, and they're blazing like that, dude.

[00:24:21]So, I think that evolved, it morphed until... The tempo also starts to pick up, more instruments are included, like all music. A little happier.

[00:24:31]Yeah.

[00:24:32]Uh, and more danceable.

[00:24:34]Yeah, this is it.

[00:24:36]I'm coming, I'm coming. It gets a little happier, a little more danceable, a little whiter, dude.

[00:24:40]And rock and roll starts to be born, I suppose, right? Or rockabilly and I don't know what it is. First, before, right before Virus. All this Elvis stuff is rock and roll, right? That's it now.

[00:24:50]Yeah, it's like rock and roll. Yeah, in my opinion, obviously Blues starts, I mean, there were different types. For example, one very strong one was, I mean, they sang about, like I said, about their masters and they criticized them and what they lived through, the tragedies, let's say. And there was another current of blues that talked about religion, for example, that one was more accepted, that they talked about God's salvation, and that was one of the first, I mean, Jesus Christ. And that was one of the first ones that white people kind of accepted, kind of started to commercialize because they said, "Well, that one isn't so rebellious, is he?" It aligns somewhat with what we believe, and they start to commercialize it, and in my opinion, it gives rise to something like gospel and all these genres, right? So, it starts like this and then diversifies into so many branches that I think it's impossible to go on, well, you could continue, but, like gospel, and all these other currents, right?

[00:25:46]But yes, we can maybe try to play a blues, you know, slower, more painful, because right now it was like, how can we? So, this cliché of talking about speaking with the instrument comes up, right? Uh-huh. We're going to put you in a tough life context where you're going to express that to me.

[00:26:07]So, your blues is going to be talking to the guitar, right?

[00:26:11]Don't say, "Ah, the blues are the, I mean, let's respect that structure so that it has life.

[00:26:17]But express yourself, I mean, don't pigeonhole yourself." Do you understand? Use that framework only as a time structure. It has to be done in ternary form, BB King style, that is, one, two, three, ta. Yes. Two, three.

[00:26:33]And that mother, I feel, sets the standard for throwing things away. I'm saying that right now they've put out the frame that it's very difficult.

[00:26:40]Yeah, throw it away right now, so be sad, dude. This, or imagine you're BB King, but yeah, imagine you're BB King a little bit, dude, right? And it also goes with the sound, I mean, like, tell me, because in my head there's still this idea that Bluera was expressing it that way, you know?

[00:26:54]Yeah. So you could throw in whatever and, within your context, say, "Dude, this is part of what the blues is all about. It's the place where I can express myself, it's the place where I can talk about everything, and I feel like that's what you could translate musically right now.

[00:27:36]Ah.

[00:28:04]Yeah.

[00:28:46]Can you tweak the bass a bit?

[00:30:44]Dude, I realized I messed up the structure for you, dude.

[00:30:48]Why? Because I shortened, I shortened the turnaround.

[00:30:52]Yeah, we 're always... Yeah, I shortened it all the time, dude. I don't know, I mean, you adapted superbly, right? Because that's exactly what it feels like, right?

[00:31:02]Like you change to the fifth, yeah.

[00:31:04]And to the fourth, and it feels... It's really difficult. For me, it's very difficult to play blues because it's very expressive.

[00:31:10]Very, very expressive.

[00:31:11]And you have to start right now, when you start singing, like phrasing with your voice, thinking like that, and then on the instrument, well, since it has the scales. That's difficult." Okay, we should do that exercise, I don't know if right now, I don't know if right now, because it does require a little bit of responding, right? No, uh, it does require a little bit of freedom, right? And of exposing yourself and being vulnerable, of doing a solo and singing it, dude.

[00:31:39]Doing it with your voice.

[00:31:41]But look, let's do a round. Let's do a round like, uh-huh. If you have one right now and you throw it out, I do n't have anything either.

[00:31:51]But what I'm going to do is more or less create communication.

[00:31:53]Imagine we're like this with chains, dude. Ah, no, no, no, because precisely, I mean, imagine three guys in that context and, dude, we only have our voices to speak and we turn to look at each other, there's communication, but you want to create verbal communication with an instrument, whatever. I can throw out a phrase there if it occurs to me, but, uh-huh. It's like there's a response, but yeah, I mean, no instrument.

[00:32:17]Ah, well, if you want to throw in a tone, no problem.

[00:32:19]No, I don't have one, dude, I don't have one.

[00:32:20]But, like, that it literally feels, I do n't know, dude, if you transmit, try to, I know it's very weird and very subjective, but if you can throw in the, dude, here I am telling you that I'm pissed off at you and you respond with something similar, let's try it.

[00:32:33]Okay. Because that school of blues is clearly, bro, there it is, there you are telling me that you hate your girlfriend with your line.

[00:32:42]Okay. Okay. Um, because remember that this is also very important, huh? It's how you express it, I mean, it's this disjointed vibe, it's not pop, it 's not perfect, it's not the perfect expression. Right.

[00:32:55]So, from there also comes that sentient quality with the and or these cut-off phrases, right? Like everything all cut off.

[00:33:07]Let's at least try it.

[00:33:09]Uh, let's make the little bags and that The same goes for ternary, or maybe ternary is cool for suddenly raising the double time and adding more phrases. Okay.

[00:33:21]Ah, or well, I don't know about you. Me.

[00:33:24]Well, let's do it the same way.

[00:33:25]What do you feel, bro? What do you feel? Let's do it the same way.

[00:33:28]What's calling you right now?

[00:33:30]Let's see. Let's see. Yeah, we have to. Yeah, it's really deep, but if you get so deep, let's eat.

[00:33:36]Take your time, dude. Take the necessary time. I mean, do your intro, the same way, right?

[00:33:45]And we'll come in right now.

[00:34:11]There you are singing something.

[00:35:58]Give it an opening so Luis can answer.

[00:36:00]What?

[00:36:01]Give it an opening so Luis can answer.

[00:36:04]So I can answer. Yeah, I'll give you a kilo.

[00:37:03]Glory.

[00:37:57]a time on to all the Time to pray on time of my trar.

[00:38:33]Ready.

[00:38:51]Ah, it's on the this. It's on the Yeah, it's on the. We would have to move it to the blues to the How We can move it right now, we'll add a break, a crescendo. We'll have a silence. Wait, wait. It's just that the harmony there on my 7 ends the cycle.

[00:39:16]One, two, three.

[00:39:21]It's just that it won't feel like a change. We have to force it.

[00:39:28]No, it goes, it goes somewhere else. We start again.

[00:39:53]Now, harmonica.

[00:40:01]Hold it, hold it.

[00:40:31]How difficult, dude.

[00:40:39]Impossible.

[00:40:59]Let's answer each other, but faster. I ruined it.

[00:43:26]How difficult this thing is. Dude, cool. I have no idea.

[00:43:30]But it is tough.

[00:43:33]It's just that in theory only one note should sound.

[00:43:38]Yes, yes, yes, yes, yes. It can vary. There are ways. Exactly. But well, as you saw there, also this pulling and blowing is difficult because the note changes, dude.

[00:43:49]Yes, yes, correct.

[00:44:00]Damn, you ended up somewhere else.

[00:44:02]Somewhere else. This, as you saw, is also a very fair, very flaming genre, Very free, and it's like the same structure, and you can literally spend hours there soloing.

[00:44:13]Hours. I don't know if I achieved what I wanted with my proposal. It's just that sometimes your instructions are there.

[00:44:17]My proposal was to communicate, but, like, I know you have to go through the whole process.

[00:44:22]Ah, as an immediate response. Yes, that too, but I don't know, it did n't work at first, and then it did.

[00:44:28]And then it did. Exactly.

[00:44:29]But it's this vibe. Oh, I don't know. I feel like it's very noticeable when one guitarist goes overboard, dude, and the other one comes in and it's like, "Uh- huh."

[00:44:39]Not in terms of competition, but like, "I understand you and I'll respond." Uh-huh. Of giving the same intention. Yes, yes.

[00:44:45]Uh, musical, dude.

[00:44:46]Yes, it's difficult too, I repeat, like, improvising in blues and all that.

[00:44:52]Yes, it's tough. Gy, like, that's how it is. It sounds like language. Uh-huh. That it sounds like language.

[00:44:55]What do you use to sound like the language of blues?

[00:44:58]Well, the Pentatonic. Normally, the minor pentatonic is used.

[00:45:07]The interesting thing is that while we're in a major chord.

[00:45:09]Uh-huh. Major. Exactly.

[00:45:11]So there's that clash of thirds. Yes. I mean, I'm playing a minor third and he's playing the major third in the chord, which works really well when you kind of bring that minor third closer together with the wind.

[00:45:26]That's very bluesy, right? Or you literally combine that major with minor.

[00:45:36]That major with minor. And also the famous Blue Note, which is an augmented fourth or diminished fifth interval, however you want to see it, which is this note that's very tense and generates that tension that you do n't normally stay on because it sounds bad, but you use it as a passing note, right?

[00:46:00]Correct. So, look, change the chord to D.

[00:46:08]Then, you can stay there, dude, in that little box.

[00:46:23]Exactly. The blues pentatonic scale.

[00:46:25]Well, blues pentatonic scale and blues scale.

[00:46:27]I think it's a very good point To start. If you already have the structure and want to start improvising.

[00:46:32]Hmm.

[00:46:33]Who do you think, or rather who do you think, has really carried on that, well, with the history of the Blues, regardless of taking the context out right now?

[00:46:44]Musically, who followed this trend to the point that it sounds like BB King, a modern blues, but you'd say, dude, you're coming from the school of King, BB King, or even earlier? Please answer, Iván. I think John Mayer, I think he carries on a lot of it. In fact, in his concerts he literally plays the blues, I mean, literally a blues like this one, he plays several blues songs and lets himself go, right? He lets himself go, especially with John Mayer III, I think he played a lot of blues, that's really cool, and it was literally just bass, guitar, and drums, and it's really great.

[00:47:19]It sounded, it sounds very much like that, actually. And he also has a collaboration with BB King at one point, I think.

[00:47:23]Yes, at a BB King concert he went up to play with King, honestly, he comes from that school. Yeah, it's kind of a fusion. Like we talked about in the last podcast, Mayer has these Hendrix influences too, but also a lot of, for example, Stevie Ray Bond, who plays a lot, because it's more of a Tejano blues.

[00:47:50]There's the structure.

[00:47:52]First. Uh-huh.

[00:47:55]Fifth degree. I mean, he also brings that vibe. I really love Stevie Ray Bond, honestly. I really like how that guy plays, well, how he used to play because he's passed away, but anyway, he brings a lot of that school, right?

[00:48:15]Steve Rake, in turn, is also influenced by Hendrick, but also by all this American blues. It's, I think it's a very American genre, dude, the blues, dude, I mean, they really nailed it there, badly, but yeah, dude, it became more American when they integrated it into country, dude.

[00:48:33]Exactly. The fusions they did there, Dude.

[00:48:36]Gospel, all that stuff is very American, and well, it's the contribution, I think the best contribution the United States has made to the world, dude.

[00:48:45]Seriously, dude, they really nailed it, dude.

[00:48:47]Of course.

[00:48:48]Yeah, dude. It was really awesome.

[00:48:50]Well, that date exists, but these are the ones where you were kind of venturing into this, I mean, I imagine you spent many hours playing blues and I started to see that, I think, it was like the beginning of these fusions where they started to emerge as alternative genres, right? I mean, because I imagine guys doing this for 5 hours straight, 4 hours straight, and suddenly, I do n't know, dude, who? Louis Armstrong, for example. Louis Armstrong.

[00:49:17]Uh-huh.

[00:49:17]And throwing things in here. Uh-huh. But throwing in things that had nothing to do with it, I mean, that didn't fit, they didn't go in. Uh-huh. In a blues session and suddenly, Ah, well, so now it's blues with rhythm blues, or I don't know, blues with gospel, right, or blues with this. So yeah, it was really cool to be part of those changes where, dude, suddenly, like, someone would fuse something and it was like, "Okay, new soul was born, I don't know what." And you know, yeah, in such and such a state they were playing like this, playing, and they started copying and integrating everything.

[00:49:51]Yeah, in fact, in Eric Clapton's Unplugged, if I remember correctly, he actually refers to how the blues was played in different states of the United States. Oh, how cool. I mean, there are things that, for example, they played a lot with, oh, I don't know what it's called, like that bar they scraped with the... Yeah, the bar has a name, that was a type of blues more from San Francisco, more from the West, and a New Orleans-style blues was very different, I mean, more jazz-oriented. A Chicago blues was very... Different, I mean, like, for example, if you have the chance to listen to it in detail, it has different kinds of blues, different ways of playing it in different places.

[00:50:28]How slow is acceptable?

[00:50:30]How what?

[00:50:31]How slow is acceptable? Where would I tell you it's not blues?

[00:50:34]That thing is called a washboard. Oh, no. Yeah, exactly, dude. Like, we zoom in here, we put it there in the editing. Okay.

[00:50:44]We put it in the editing.

[00:50:45]That little board. They use it in several genres, actually.

[00:50:48]Washboard. Yeah.

[00:50:49]And it has something like a thimble, it was played, right? I think something that makes the damn washboard sound, that aluminum thing.

[00:50:55]Exactly. And I'd like to, I mean, move forward a bit because I love this stage of history, dude, which is the British invasion and the return of the blues. We talked a little while ago about what happened, but well, broadly speaking, the Blue becomes very Popular in the United States, and this whole movement reached England, man. In England, unlike in America, they did n't have this social context.

[00:51:17]The music just arrived, and many bands started copying that style of playing the blues. But I think that since it no longer had that sad, painful context, they transformed it into something else. And here I'm going to mention the Beatles because they were like the spearhead of the British Invasion. What the British did was take American blues, transform it, and bring it back to the United States as rock, right? I have several examples of how this transformation emerged. For example, this Beatles song at the beginning, "I Saw Her Standing There," which is a "me," which could be like a tonic chord.

[00:52:04]It goes to the fourth, first, and fifth.

[00:52:13]So, those are the three chords of the blues, the three dominant chords, but in the chorus, something very curious happens.

[00:52:31]What's happening there is the tonic chord again, but a major chord, an inversion.

[00:52:37]And then the fourth degree, and then they throw in a flat, a flat sixth, dude. A flat that's not in that blues structure, but in their more pop sound, dude. Maybe, dude.

[00:52:48]Yeah, let me explain. So, this is a great example of a little nod, and this song is from the first Beatles album, of how they were making that transformation, already throwing in different chords, taking risks, it wasn't so rigidly based on that 12-bar structure anymore. Yes, they used blues chords, but not rigidly, right?

[00:53:07]It's just that they've been weird mutations, dude. I mean, at the time I feel like everything was so niche and so standardized that any dude who, like, that dude decided to throw in a new chord, like, "Damn, what do we do? What does this do?" And all these parts are born. That's why, I mean, there's so much talk about who started it all, right?

[00:53:24]Like, damn, well, these guys Maybe that music already existed, but it turns out this guy had the idea to put a rap in with those chords, and that's how rap was born, blah blah blah blah. Yeah, that's really cool to have. It's really, really awesome. Another example I have is from The Beatles' "Day Tripper."

[00:53:40]Of course, it's a first degree, a mythical "reif," and it goes to the fourth degree like blues with the same thing. It goes back to the first degree, but the chorus goes to an F sharp 7.

[00:54:01]Then A7.

[00:54:04]All sharp 7. All sharp 7. And up there, he puts in the fifth degree. So, like, he puts in like three chords in the middle. Uh-huh. He keeps delaying, he keeps delaying that tension, and in the end, they do resolve the fifth, which goes to the first, but look, there he expanded, he put in like a different harmony to the blues structure.

[00:54:23]Of course, but it's a blues, it gives you that, well, that's where those fusions start, dude. That's why, yeah, they clearly have blues influence, and I could say that many of the Beatles' songs... They sound bluesy, or they are blues. Uh-huh. Especially the early ones, they're the ones who transformed the blues into the popular music we know, and not only them, the Rolling Stones were there too, the Jarberts, Eric Clapton, and Cream, for example. It's not Clapton, dude. It's... Yeah, all the blues is there, dude.

[00:54:58]And then it goes to the fourth bar.

[00:55:10]But the chorus, for example, it's a whole different ballgame, dude.

[00:55:18]They took the influence of Bru and made it something else.

[00:55:21]Look, it's like they take the first eight bars, let's say, like that change from the first to the fourth bar, they kind of adapt it there and do whatever they want after that.

[00:55:30]Yeah.

[00:55:30]It's kind of to identify.

[00:55:31]Uh-huh. Like, here's what you're familiar with, and then my musical contribution. Well, dude, it's kind of what we talked about in the last podcast, I mean, the influence. Right, I mean, how I can transform, and especially these icons that don't go... to be a copy. Or I was your copy, you were my idol to follow and I'd put on your damn headphones, dude, whatever.

[00:55:51]Of course, that's what the Ves did with Elvis, they wanted to be like him. They styled their hair the same as Pol.

[00:55:56]Yeah, they styled their hair the same. They were heavily influenced by them.

[00:55:58]What? Where's that new creative part where we contribute? And well, that's how they started to work together and it could have been with a chord, it could have been with lyrics, maybe certain topics hadn't been discussed and it was all like, and suddenly love comes in or I don't know what. I haven't paid much attention to all the background of the Vine lyrics. I know there are some really dark ones, dude, really messed up, especially after the very friendly or very R. Exactly.

[00:56:23]But it's cool because the truth is that right now, I think Latino music is going to have some of that, Latin music has some of that, but it's crazy, dude. I mean, there have been so many Decades of fusions and all, where does it all end, dude, right? I mean, I feel like there's a stagnation, uh, well, a stagnation, I mean, I do n't know, I mean, it's not about discovering new music, but there have been so many fusions that something really new might impress, or do you think there has been anything, I mean, where do you have to go nowadays to say, "Ah, look, without talking about Angin or, I mean, without talking about virtuoso or rhythmic themes, etc., you mean current projects, I mean current ones. I mean, the hints of that were when you didn't expect to see regional music combined with pop. It's still around, it's still going on. So, if you play a first quarter note, dude, uh- huh.

[00:57:24]Uh, you're going to feel the blues, I mean, it comes from the blues and if you play it, metal sounds like blues.

[00:57:30]In fact, I bring the one from, for example, Metallica's Secan Destroy, the verse goes and repeats it a bunch of times and then goes to the fourth one.

[00:57:45]There's the Blu-ray.

[00:57:46]That's the blue, that's where it comes from. Thank you.

[00:57:48]So, that's, for example, I don't know, dude, if you play first grade.

[00:57:59]Well, the fourth one doesn't go there, but it does go up a minor third, right?

[00:58:03]But well, it brings the language of bluz, but in essence, I mean, in essence it is a blu. Uh-huh. You are falling into the structure of the feeling. It's felt too. So, how would you define me under this proposal? M when they say, "This guy is blunting."

[00:58:18]Let's have a blunt, no, we're not going to have a blunt, it sounds more like a bluster.

[00:58:21]I think it's because of the melodic language more than the, like, does this sound like blues to you?

[00:58:29]Yes of course. Yes, but I'm not playing the blues, I'm just using that resource.

[00:58:43]Yes, yes. For example, Rihanna does it a lot too, I mean, Ariana Grande, I mean, they tweak their phrases a lot.

[00:58:49]Big. Yes, yes, yes. That's clear to me. And especially those guys who do a great job with their voices too, since they have that background.

[00:58:53]Yes, exactly. I feel that it's something that stayed more in the United States than here. Here, I don't feel that there's that much change in the songs from fourth grade onwards. That's a different vibe.

[00:59:03]Yes, it's cultural, clearly, isn't it?

[00:59:05]Clearly neither that one nor those bluesy vocal riffs, like that, but not too much, dude. No, this is a different story. I feel.

[00:59:12]Yes, what we were talking about, uh, when could that have been? When we talk about the podcast of Argentine music, I think. Uh-huh. We were comparing a little bit. It 's a rhythmic vibe here, isn't it? One is that there is more rhythmic richness in the origins of music here.

[00:59:28]Yes, yes. I think that in the United States with the blues.

[00:59:32]100%. Yes, they are different cultures and in fact it's well done because what has been promoted here is a bit towards the Latin side, regardless of reggaeton itself, I mean, the Latin part that uses a lot of percussion, a lot of dance, a lot of dancing, is something that we have from the roots and that is not going to go away, dude.

[00:59:48]And over there that's really cool.

[00:59:49]What was happening here musically in the 20s, dude?

[00:59:54]In the Yo que estaba el bolero poco, no?

[00:59:58]Boleros.

[00:59:59]Clear. And yes, zero, zero blue influence on boleros, they would say. I mean, if I do n't have a little bit of it, I feel like it's another side, dude.

[01:00:08]No, I feel it's another side. Well, it also comes from another place, I mean, I feel like that was copied, that bluesy sound was copied because it comes from that root we talked about, dude. And maybe the roots of people from 1920 here, a Pedro Infante or people from Bolor, their context is different, right?

[01:00:24]Yes, I also think it doesn't come that often.

[01:00:26]So maybe the expression is different because they were also more romantic songs, like more or right here it's either party songs or very romantic, right?

[01:00:35]Or heartbreak. And I feel that BL brings another context.

[01:00:39]Even the rigging, right? The Aha. Exact. Not here, not really, dude. Here it was tua tun that. The mariachi that is square.

[01:00:53]Well, not square in that respect, but that's all that happens, but it's very different in the touch.

[01:00:59]Yeah, dude. There too, but also right now that we're talking about reggaeton and stuff, reggaeton artists usually rock it a lot when they play live, dude. I mean, you'll go with distortion, and that comes from the blues, dude. I mean, that rebellious attitude, that comes from the blues. So, keep going, dude. It's still present, even if it's in reggaeton, in traj, but it's there, dude.

[01:01:23]Well, you can't escape the history of music. I mean, it's not like I created a new genre, I mean, everything has a story, everything.

[01:01:30]And if it comes from these roots, then clearly 80 genres were made from there, but you come here, dude. In other words, you're my little boy, even though he's small.

[01:01:39]Yes, yes, yes. And this is interesting, and that's it. I don't know if they have any other input. I have some here.

[01:01:46]Well, I'd like us to do the final jump in a minor blues. Right now we're playing only major.

[01:01:50]Okay.

[01:01:51]A minor blues that is almost the same.

[01:01:55]Ah, there it is. That camera died.

[01:01:57]This one, but what would it be like? In other words, in my opinion, a minor blues.

[01:02:01]As? Let's see, but no. Before we finish, how do you integrate it?

[01:02:04]What thing? I mean, I don't know, for people who say, "Okay, I want to learn to blues." How do you integrate it into the present without sounding like BB King?

[01:02:12]Yes. I mean, maybe you have a band where you go for a more modern group. Go for a fast group ride, at whatever speed you want. Uh-huh. For example, there, right? In other words, it would be a bit more rock-oriented.

[01:02:27]Okay, let's do it the same way with the larger one, right? So, it could be a rif, for example.

[01:02:41]Yes, there's blues too.

[01:02:44]We're moving.

[01:02:50]And we move back to the first one. There is no fifth, no more. We'll go back first.

[01:03:16]F major.

[01:03:22]Top time. I do n't know, I mean, there was already a change there. The F I'm talking about is very obvious; it's very typical to go to a flat if you give it a little twist, right?

[01:03:39]Rhythmically in tempo.

[01:03:40]Exact. But it brings the essence there, I mean, but it's also cool to report that part because I feel that there are also many, uh, I mean, it's good to add to their musical information that they are also really into blues, right?

[01:03:51]Because I feel that in the normal framework that you have right now, maybe you don't have all this historical context, like, oh man, that's not blues, like, I'm not doing blues, you're doing pop, you're, I mean, it's all very stereotypical. It's kind of ambiguous, like it's up in the air, not so easy to define. I just feel like it's very artistic.

[01:04:09]Exact.

[01:04:10]And it's not really necessary to define it.

[01:04:12]No, not that either, right? Why, why are you going to look for it, why are you going to pigeonhole it? No, for example, that common question is, what do you play? No, what do you like to play?

[01:04:23]Yeah, dude. Ask a musician, that's what he'll tell you, I like to play everything, dude. Do you know what used to bother me that I've now changed my mind about? When they told you that you are, I mean, the rebellious ox. Uh-huh.

[01:04:36]This guy who tells you, "Dude, there was rock music upstairs, for example, regardless of whether he plays rock." I mean, it's like now that idea of ​​being gay really overlaps a bit, uh, how to put it? Like, rock mostly, I mean, like, bro, you wrote a poem, that's rock, dude. I mean, like you did rock, you know?

[01:04:54]Exact. And it's a bit like the blue too.

[01:04:56]Exact. So it's cool not to pigeonhole it and to be permissive that we have influences from all over, because there's no need to pigeonhole it, but in terms of language it's like, dude, that's great blues, no bro, no, no, that's not blues, I don't do blues, it's like, hey dude, we make metal rock, where does it come from? I don't know, we did it and it's like something there, amb viguo in the air. For example, I have Billy Eish's "Bad Guy," which is a blues song.

[01:05:20]Well, for me it's a minor blues album.

[01:05:31]That's where we changed.

[01:05:35]Fourth grade. The fifth one is a blue.

[01:05:46]It's a blues, it 's not a lawyer who's going to tell you, "No, but it's not a gay but it's a plus gay."

[01:05:55]And there are many songs that are great, for example, from the Beatles too, like Old Darling.

[01:06:08]This is going fast forward.

[01:06:34]Well, I mean, it doesn't follow that structure anymore, but dude, it feels like a blues, I mean, the interpretation is like a blues, there are chords that are from the blues, so it 's a blues and for me it's a blues. Exact. Exactly.

[01:06:50]And also, why is this the last question? Why do you think the bass pickup sounds better? So, do you associate the fact that the bass pickup is used more for playing blues solos?

[01:07:04]Well, I think it does, I mean, it somewhat compensates for the higher, shriller sound, but it's not relevant at all. In other words, I clearly like it and I see it as a perfect bonus.

[01:07:14]Okay, take one lycium on that pill and then one lycium after with the other pill.

[01:07:18]Dude, there are no rules, I mean, you can do whatever you want, rules. But, but since you're going to sunbathe, raise your pill. This is the one with the mast, right? Uh-huh.

[01:07:28]Yes. I'll change the one with the most Rocky bridge. That's not it, dude. It's a much squeaker sound. Well, the thing is, yes, genres do establish certain sounds, yes, it 's not an absolute rule, but it has been studied or it is mostly established by sounds as well, right? So, you're like, you clearly hear 80 blues bands and they bring that bassy pickup sound, and you hear rock and it's as treble as you can get. Uh-huh. Exactly.

[01:07:59]So to speak, right? For that, I don't know, maybe guitars used to have the pickup there. It could be, dude.

[01:08:08]That sound was probably established. Don't know.

[01:08:10]Perhaps the first exponents were like But it was played. That's how it is with the sharp pill, never ever.

[01:08:23]And with the high note, right? In other words, it also has a different character, but a different one.

[01:08:29]But, like, like, it sounds cool. I like it too. It's a blues song, but it does n't have that.

[01:08:32]But I feel that the blues is warm, dude.

[01:08:35]It's hot, dude.

[01:08:36]I feel like it's that thing that embraces you, gay. Uh-huh. Even though you're talking about a worse situation, I feel it's warm because it's done in community, dude. It's not... I imagine that before, they would all get together after work, after 20 hours of work, and that's where their "yam" was, right? Being able to sing, being with the harmonica, with the little guitar, with a string, dude, and everyone participating in that.

[01:09:03]I feel like it's very much about that, very much about community, several films. I was actually going to make that reference because I feel like I've seen it included in Cross the Universe when they 're blocking that same r, because they're all high and the harmonica and sucking, I mean, it's like part of a lifestyle that's kind of what he promoted at the beginning.

[01:09:20]Yes, I think it was in 12 Years a Slave, I do n't know if you've seen that movie, it's very good. I think there are some references to those songs, I mean, they're working right there and they're singing and that guy is there letting out all his pain, dude, there, I mean, it's really messed up, dude.

[01:09:33]Just like Ray Charles said with his voice, no way.

[01:09:35]Yeah, dude. King Charles had a guitar in his gay voice.

[01:09:39]So this one's going to be a shot.

[01:09:44]That depression was really cool, and I apologize if we didn't play the blues perfectly, but it's a very difficult genre. I think you have to specialize for any genre.

[01:09:59]For anyone, dude.

[01:10:00]But we're being contradictory. Are you telling me a story? The structure, the very different structure to understand the blues academy and as an analysis I think it's cool, right? Seeing what came out of there.

[01:10:11]Yes, but you have to nourish yourself. Yes, it played. But. Well, I honestly don't think I was very happy with my performance in many parts, but oh well, that happens too. No, it 's fine, nothing's wrong. I would say Black. That's truck, baby. Shut up.

[01:10:27]Pass.

[01:10:30]That? Do you want to play? A minor blues.

[01:10:32]Let's go with a minor blues. What could this be? As far as I know, in the minor blues, first fourth, right? But then they do a flat six. Uh-huh. Could be.

[01:10:42]Fifth and stays in first. Uh-huh. I do n't know, I don't know how we can approach it. Let's throw a little jam like this and they're bluesing, they're bluesing in the middle. A little something, whatever.

[01:10:59]Go on, start. But tight, throw that away.

[01:11:04]We went in like this.

[01:11:06]I think they sound black when they enter. It sounds black.

[01:11:09]But damn, gay. What pressure.

[01:11:11]Two right.

[01:12:41]He He.

[01:13:58]Ti ti ti Ti ti ti Ah.

[01:20:48]with ear of corn.

[01:22:18]e he.

[01:23:02]Stay there.

[01:23:48]Ah.

[01:24:03]Oh.

[01:24:20]Ah.

[01:24:30]Ah.

[01:25:09]Wow. Oh.

[01:26:19]Oh.

[01:27:00]He he he I don't know, right now, right now, right now.

[01:27:41]Give me a drumroll to come in or something.

[01:27:43]Let him be left alone doing a "What?" No way, I already took off the tape, dude.

[01:27:47]No, just keep making a shape if you want. Wait for me, wait for me.

[01:27:51]And then we'll go in with you.

[01:27:57]What pressure, dude.

[01:28:02]But very well marked. And total silence.

[01:28:04]One, two, three cu.

[01:28:29]Has Cortadito.

[01:29:59]It was there, it was there. I was missing two. The mother got off gay.

[01:30:47]That would have been mandatory.

[01:30:49]That? That would have been mandatory.

[01:30:50]You would have forced the chirping.

[01:30:53]I missed the "I grabbed her". I never saw the figure. You never held it properly. I mean, it was more or less like when he said nothing cool.

[01:31:07]More or less.

[01:31:08]Ah, if only it had been good. No, I don't know if he's that seriously ill, dude. I feel it. Uh-huh. But that's a medium.

[01:31:27]And what smells.

[01:31:36]Do it in threes.

[01:31:38]Oh, damn. I'm going three-quarters. I mean, I mean, t, I mean, ah, no, but, but you have to go into the, I mean, we're in.

[01:31:52]But you guys, rather you guys, form groups of four, right? I mean, do it, do it like, I mean, in the same figure, same click, but I mean, tun tun tun tun.

[01:32:11]One, two, three. One, two, three. Knock knock.

[01:32:15]Well, it's a different rhythm, like Paramor's.

[01:32:18]Knock knock knock.

[01:32:27]No, I don't know if that's the case. I don't know, I don't know, gay.

[01:32:29]Do it on normal four.

[01:32:36]Chile, do n't move.

[01:32:39]One, two, three, four. I already moved it for return.

[01:33:22]No, it's over, it's over. It got lost.

[01:33:29]Power. What power, friends. Hey, you're not going to make it to the