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PopmuseumHis Bobness hat in seiner „Theme Time Radio Hour“ über „Days of the Week“ „Great Lonnie Johnson“ 4:10 Minuten Reverenz erwiesen, indem er dessen Biografie skizziert und „Tomorrow Night“ gespielt hat (das unter anderem auch von Elvis, Sonny Burgess, Jerry Lee Lewis und Dylan gecovert wurde).
Auch in der Sendung zum Thema „Wasser“ wurde „Great Lonnie Johnson“ von his Bobness gewürdigt. Zwischen der biographisch ausgerichteten Moderation war Johnsons schöne Coverversion von Bessie Smiths „Backwater Blues“ zu hören.
Im Zusammenhang mit den Gitarrentricks, die Lonnie Johnson Dylan im März 1962 beigebracht hat, wird bzw. wurde in einem anderen Musikforum sehr eifrig diskutiert:
Mysterious Bob Dylan musical theory
http://ask.metafilter.com/29841/Mysterious-Bob-Dylan-musical-theory
In Bob Dylan’s book Chronicles, Vol. 1 he describes an esoteric numerological scheme for playing guitar, saying most melodies are based on the number 2, but that he’s taken it to the next level by choosing what to play based on the number 3. Can anyone explain what he is talking about?
It’s all so mysterious. He writes (p. 157) that his guitarmanship was electrified in the 1980s when he learned how to play „based on an odd- instead of even-number system“ that he learned from jazzman Lonnie Johnson: a „highly controlled system of playing and relates to the notes of a scale, how they combine numerically, how they form melodies out of triplets…
„Popular music is usually based on the number 2 […] If you’re using an odd numerical system, things that strengthen a performance begin to happen […] In a diatonic scale there are eight notes, in a pentatonic scale there are five. If you’re using the first scale, and you hit 2, 5 and 7 to the phrase and then repeat it, a melody forms. Or you can use the 2 three times. Or you can use 4 once and 7 twice […] The possibilities are endless […] I’m not a numerologist. I don’t know why the number 3 is more metaphysically powerful than the number 2, but it is. Passion and enthusiasm, which sometimes can be enough to sway a crowd, aren’t even necessary. You can manufacture faith out of nothing and there are an infinite number of patterns and lines that connect from key to key…“
Ich kann leider auch nur vermuten, was His Bobness meint. Schließlich hat Joan Baez, die übrigens heute abend in Wien gastiert, nicht umsonst Dylans vagueness als eine seiner Stärken gewürdigt: „You who are so good with words / And at keeping things vague.“
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P.S.: Hier gibt’s noch mehr Diskussionen, die Licht in Dylans Dunkel bringen (wollen):
Eyolf Østrem: ‘What I learned from Lonnie’. An exploration of some remarks in Chronicles
http://www.dylanchords.com/professors/lonnie.htm
What I Learned from Eyolf
http://www.thebobdylanfanclub.com/soundsdifferent/index.htm#eyolf
Does anyone know what Bob Dylan is talking about here?
http://www.tdpri.com/forum/tab-tips-theory-technique/181977-does-anyone-know-what-bob-dylan-talking-about-here.html#post2085845
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