Re: Unanswered Question #1

On Apr 5, 12:29 pm, "Tom K." <tkor...@[EMAIL PROTECTED]
> wrote:
> "Steve Latham" <llat...@[EMAIL PROTECTED]
> wrote in message
>
> news:7HNJj.248$3w2.128@[EMAIL PROTECTED]
>
>
>
> >  most Blues pieces, are, if not simply a 12 bar pattern, an
elaboration
> > thereof.
>
> Agreed.  An interesting example of a "16 bar blues" is Benny Goodman's
"Soft
> Winds" (although at least one source gives a 12 bar version).  The
> subdominant (mm 5~6) is repeated and the following tonic (normally mm
7~8)
> is also repeated, stretching the basic 12 bar form out to 16:
> I -    1~4
> IV - 5~8
> I -    9~12
> V -  13~15
> I -   16
>
> And, of course, there is John Lee Hooker ...
>
> Tom K.

Yes that is true, But more on topic is that this harmony is not what
makes it Blues. The form is also a typical folk song form and so is
the harmony. It is the MELODY (and of course the title) and the genre
of the piece that make one consider it the blues. So my question is
then, what does this have to do with comparing (in retrospect even!)
the Pujol with CPP rules even though the Key Signature even starts off
by saying in CPP language that it is not typical of the CPP period? I
just don't see the connection, at least not in this case!
LJS