John Powers

One, two, three, one, two, three, one, two, three, one, two, three. So if you put the march... And the waltz together, you get a two against three, an odd against an even, which is the West African rhythm, the 6-8 rhythm that comes from Africa that leads to the American shuffle rhythm, which is the clave of the blues, if you will.

One, two, three, one, two, three, one, two, three, one, two, three. So if you put the march... And the waltz together, you get a two against three, an odd against an even, which is the West African rhythm, the 6-8 rhythm that comes from Africa that leads to the American shuffle rhythm, which is the clave of the blues, if you will.

One, two, three, one, two, three, one, two, three, one, two, three. So if you put the march... And the waltz together, you get a two against three, an odd against an even, which is the West African rhythm, the 6-8 rhythm that comes from Africa that leads to the American shuffle rhythm, which is the clave of the blues, if you will.

It's the base rhythm for so many popular styles of music and styles of music since the beginning of rhythm.

It's the base rhythm for so many popular styles of music and styles of music since the beginning of rhythm.

It's the base rhythm for so many popular styles of music and styles of music since the beginning of rhythm.

There's polyrhythms. Even in that short theme, you're hearing the two and the three. Short, short, short, long, short, short, short, long. When you put those together, it creates something that is infectious that whether he was referencing that or not, it's something that's a universal, connective, magnetic truth in music.

There's polyrhythms. Even in that short theme, you're hearing the two and the three. Short, short, short, long, short, short, short, long. When you put those together, it creates something that is infectious that whether he was referencing that or not, it's something that's a universal, connective, magnetic truth in music.

There's polyrhythms. Even in that short theme, you're hearing the two and the three. Short, short, short, long, short, short, short, long. When you put those together, it creates something that is infectious that whether he was referencing that or not, it's something that's a universal, connective, magnetic truth in music.

It's like things that make you cry every time you hear them, things that make you dance every time you hear them. It's just something in the DNA of that sound.

It's like things that make you cry every time you hear them, things that make you dance every time you hear them. It's just something in the DNA of that sound.

It's like things that make you cry every time you hear them, things that make you dance every time you hear them. It's just something in the DNA of that sound.

Penta. You hear that in music all across time. And something about that sound gives you the feeling of the blues already. Now, when Beethoven has this. That right there. That's what we call the blue note.

Penta. You hear that in music all across time. And something about that sound gives you the feeling of the blues already. Now, when Beethoven has this. That right there. That's what we call the blue note.

Penta. You hear that in music all across time. And something about that sound gives you the feeling of the blues already. Now, when Beethoven has this. That right there. That's what we call the blue note.

And that hadn't been invented, that hadn't been codified yet, but when I heard that in this piece as a kid, it immediately made me think about the blues that I was learning downtown from my classical lessons. So I would think about, okay, well... The blues scale that we all learn when we're children is the pentatonic scale with that added blue note.

And that hadn't been invented, that hadn't been codified yet, but when I heard that in this piece as a kid, it immediately made me think about the blues that I was learning downtown from my classical lessons. So I would think about, okay, well... The blues scale that we all learn when we're children is the pentatonic scale with that added blue note.

And that hadn't been invented, that hadn't been codified yet, but when I heard that in this piece as a kid, it immediately made me think about the blues that I was learning downtown from my classical lessons. So I would think about, okay, well... The blues scale that we all learn when we're children is the pentatonic scale with that added blue note.

Now, that's just one very small example of perhaps the idea that Beethoven, if he were around in the 21st century today, he probably would take these sounds, most likely would incorporate them in the music that he'd be composing today, which is a very exciting proposition.

Now, that's just one very small example of perhaps the idea that Beethoven, if he were around in the 21st century today, he probably would take these sounds, most likely would incorporate them in the music that he'd be composing today, which is a very exciting proposition.