Cultural Exchange

pg 477
GUIRA - percussion instrument made of aluminium and embossed with hundreds of tiny bums. Guiras produce a dry husky bark when played with a metal scraper comb.

LEONTYNE- Mary Violet Leontyne Price, opera singer. As Scanlon points out, a black woman who made it big in a white genre.

LIEDER - simple folk melody with uncomplicated harmony and independent accompaniment.

p. 478

LEONTYNE, SAMMY, HARRY, POITIER, LENA, MARIAN, LOUIS, PEARLIE, MAE - Leotyne Price, Sammy Davis Junior, Harry Belafonte, Sidney Poitier, Lena Horne, Marian Anderson, Louis Armstrong, Pearl Baily, Gracie Mae. Black American singers, actors, musicians. Household names in white America.

GEORGE S. SCHULYER – Black journalist and author of “Black No More”. His attack on the New Negro Movement and his support for inter racial marriage made him a target of Hughes essay, “The Negro Artist and the Racial Mountain” (1926) in which Hughes claims that a black person saying I want to be a poet, not I want to be a black poet, is saying he wants to be a white poet and is therefore a traitor to the movement.

MOLTO BENE – Italian – Very good.

MOUNT VERNON – there are dozens of Mt Vernon’s in the USA. I’m going with the planned community near New York which offered genteel land ownership to urban renters. I take to mean upwardly mobile. Out of the ghetto.

RALPH ELLISON - African-American writer, whose novel INVISIBLE MAN (1952) gained a wide critical success. He used racial issues to express universal dilemmas but avoided taking a straightforward political stand. "Literature is colorblind," he once said. Many artists of the Black Arts movement rejected Ellison for his insistence that America be a land of cultural exchange and synergy.

VESPUCIUS - Florentine navigator who explored the coast of South America; America was named after him (1454-1512). I take this as a rebuke of Ellison, ranking him on the level of the colonizer, Vespucius

ARNA WENDELL BONTEMPS - writer in the Harlem Renaissance.

9.479

SHALOM ALEICHEM - Hebrew greeting. Peace.

JIMMY BALDWIN – James Baldwin, writer noted for his novels on sexual and personal identity, and sharp essays on civil-rights struggle in the United States.

GHANA GUINEA – “Some 10 million Africans were sold into slavery between the 1500s and 1800s, bartered by their own tribal kings and chiefs to European traders for such novelties as gunpowder, alcohol and mirrors. Many were held in castle dungeons along the West African coast before being marched out to slave ships that sailed for the Americas and Europe.”

ORNETTE - Ornette Coleman the revolutionary saxophonist who created "free jazz”

Kwame NKRUMAH, foremost proponent of Pan-Africanism in the latter half of the 20th century.

NASSER- Gamal Abdul-Nasser became president of Egypt in a 1952 military coup referred to as the 1952 Revolution. Nasser was responsible for the nationalization of the Suez Canal, Agrarian reform, and socialist policies that brought the vast majority of Egyptians out of poverty.

ZIK AZIKIWE – president of Nigeria who brought Nigeria out of colonialism.

KENYATTA - On June 1, 1963, Mzee Kenyatta became the first Prime Minister of self-governing Kenya.

TOURE - Toure is known as the Bluesman of Africa because of his highly distinctive blues style that's a cross-mix of the Arabic-influenced Malian sound with American blues reminiscent of bluesmen such as John Lee Hooker, Lightnin' Hopkins, and Big Joe Williams.

p.480

DIXIECRATS - The States' Rights party, also known as the "Dixiecrats," was a rump party that split off from the national Democratic party and ran candidates in the 1948 presidential election.

DR RUFUS CLEMENT - Atlanta University President Dr. Rufus B. Clement elected first black member of the Atlanta Board of Education; in 1954, Clement becomes chair of the SRC Executive Committee.

GEORGE, ZELMA WATSON (1903-1994). black diplomat, social-program administrator, musicologist, opera singer, and college administrator
“After moving to Cleveland to study African American music at the Cleveland Public Library, she wrote Chariot's a Comin!, a musical play based upon her research of this subject. She went on to headline in The Medium, an opera by Gian-Carlo Menotti, at Karamu Theater. People consider her to be one of the first Black women to assume this typically White role.
In the 1950's Zelma George served on national government committees during the Eisenhower administration: she was a good-will ambassador and an alternate U.S. delegate to the United Nations General Assembly from 1960-61. On a return trip home from lecturing at Bethune-Cookman College, she stopped in Orlando to visit relatives. During a delay at their airport, she took a seat in a waiting room and was approached by a police officer to leave the room: "Get out you Yankee trouble-maker or I'll throw you out!" She responded angrily to the room of 75 people:
"I am a United States delegate to the United Nations. Not long ago I returned from a round-the-world lecture tour at the request of the State Department. I was trying to create for people in foreign lands an image of my country as a land where all men are created equal and freedom is everyone's birthright. Is there no one in this room who will stand up for me now?"
There was no one who spoke up for her”.

p.481

FAUBUS – Orville Faubus, segregationist Arkansas governor
EASTLAND – James Eastland, segregationist Mississippi senator
PATTERSON – John Patterson, segregationist Alabama governor.

DEAR OLD DARLING WHITE MAMMIES – “These lines invert one of the stereotypes white racists used to support the ostensible benevolence of segregation. They also remind us that in the segregated south white families depended on black servants to maintain their own internal structure” ( Scanlon)

CULTURE IS A TWO WAY STREET. This harkens back to the title, cultural exchange, a term that is usually meant to imply a two-way exchange of cultural understanding. This section of the poem shows us that although black entertainers and writers have been successful in white America, they do so on white terms. A real two way street in which the segregationists become the servants of black families is unthinkable.

the one thing I could make nothing of was "THE TOLL BRIDGE AT WESTCHESTER" Maybe someone can help me here.

21 comments:

Anonymous said...

rE: Toll Bridge from Westchester

I noticed in the guide that the writer had trouble making sense of this reference in "cultural exchange". I noticed it because my husband is from Westchester, Pennsylvania.

The underground railroad ran through Westchester. I'm not sure, but maybe the passage is referring to this?

Noelle

Anonymous said...

In “Cultural Exchange” Hughes writes: “In the Quarter of the Negroes / where the doorknob lets in lieder / more than German ever bore.” This seems to be a reference to the German “Weltschmerz” (weight of the world) present in lieder, but perhaps (as Hughes believes) felt more by African-Americans.
Noelle

Anonymous said...

Collard Greens

Collard greens are among the oldest members of the cabbage family. They have been cooked and used for centuries, dating back to the ancient Romans and Greeks. In the United States, they are most commonly referenced with their Southern style, which incorporates ham hocks, water, and salt. This recipe grew out of enslaved womens need to feed their families with no access to resources except leftovers from white plantation kitchens. The practice of eating greens that have been cooked into a saucy gravy and drinking the juices (known as pot likker) came with the women from Africa.

Ingredients:

Collard greens (whole collard heads or leaves)
2 ham hocks
water
salt

1. Wash greens thoroughly. Remove large stems.
2. Cook ham hocks with salt for at least 30 minutes in extra large pot with enough water to cover them.
3. Add big leaves first. Bring to a boil. Add rest of greens.
4. Cook 45-60 minutes or until tender, stirring once at 25 minutes.
5. Remove from heat and drain, saving the pot likker. Chop greens leaving no large pieces. Add pot likker if greens are too dry.
6. Serve hot or at room temperature.

Anonymous said...

Mint Julep

HAND ME MY MINT JULEP, MAMMY.
MAKE HASTE!

Hughes is reversing historical roles in this stanza, using the mint julep as an indicator of wealth.

The mint julep is an alcoholic cocktail distinctive to the South, made with muddled mint, sugar, bourbon, and water. It dates back to the 18th century, and is commonly recognized as the official drink of the Kentucky Derby. Traditionally, it is served in silver or pewter mugs, and is held only by the top or bottom of the cup, allowing frost to collect on the mug. The frost serves as a sign of gentility.

Ingredients:

4 fresh mint sprigs
2 1/2 oz bourbon whiskey
1 tsp sugar
2 tsp water

Muddle mint leaves, powdered sugar, and water in a collins glass. Fill the glass with shaved or crushed ice and add bourbon. Top with more ice and garnish with a mint sprig. Shake well. Serve with a straw.

Anonymous said...

SEAGRAM’S AND FOUR ROSES

Four Roses is a whiskey distillery in Lawrenceburg, Kentucky. The Four Roses brand dates back to 1860. In 1913 the brand was sold to Joseph Seagram, unless of course it was sold in 1941. The history of this company, which may have been more than one company, depending on who tells the story. Regardless of the time of their connection, the two companies (Four Roses and Seagrams) merged prior to Hughes’ poem. Whiskey has long been a part of southern tradition, and this line is referring to two items which seem separate but aren’t conceptually very different at all.

Anonymous said...

(Pg. 478 - right margin) - 12-bar blues

Music had a definite influence on Langston Hughes and I was particularly fascinated with the accompanying "music track" that ran along the right margin of the text. I wondered why he zeroed in on specific musical styles/songs during the poem. Here is a little background on the 12-bar blues:

The 12-bar blues is one of the most popular chord progressions in popular music. It has a distinctive form in both lyrics and chord structure which has been used in songs in many forms of popular music.

Most commonly, lyrics are in three lines, with the first two lines almost the same with slight differences in phrasing and interjections:

I hate to see the evening sun go down,
Yes, I hate to see that evening sun go down
'Cause it makes me think I'm on my last go 'round
W.C. Handy's "St. Louis Blues"

The 12-bar blues chord progression is the basis of thousands of songs, not only formally identified blues songs such as "St. Louis Blues", "Shake, Rattle and Roll" and "Hound Dog", but also gospel songs, such as "I'm So Glad (Jesus Lifted Me)", jazz classics like "Flying Home" and "Night Train", pop and rock songs, including Glenn Miller's "In the Mood", The Beatles' "Why Don't We Do It In The Road?", and The Clash's "Should I Stay or Should I Go", Top 40 hits like Fabian's "Turn Me Loose", "At the Hop" by Danny and the Juniors, and the "Theme from Batman". The vast majority of boogie woogie compositions are 12-bar blues, as are many instrumentals, such as "Rumble" and "Honky Tonk".

(Source: http://en.wikipedia.org/wiki/Twelve_bar_blues)

A little more about blues & 12-bar blues:

By 1920 three distinct blues formats had developed : the 8 bar blues, the 12 bar blues and the 16 bar blues.

From these three the 12 bar blues quickly became the most popular form. It is still the most common blues form used by contemporary musicians.

The 12 bar blues consists of three phrases. Each phrase is four bars long.

In its original vocal form :
the 1st phrase makes a statement,

the 2nd phrase repeats this statement,

the 3rd phrase resolves or completes the statement.

For example :

"From dawn to dusk I work the fields all day ....

Yeah, from dawn to dusk I work the fields all day ....

But when the sun is down I rush home to sweet Mae."

Repetition of melodic or rhythmic phrases or motifs is also very common in many instrumental blues , although it is not essential. Repeated motifs are commonly either 2 bars long or 4 bars long.

(Source: http://esvc001419.wic024u.server-web.com/bl1.htm)

I found the idea of repetition fitting here. Hughes clearly utilizes repetition, the two most oft-used phrases: in the quarter of the negroes & ask your mama (among others).

Stacy Walsh

Anonymous said...

Cultural Exchange
Pg. 477, Line 3 – “IN THE QUARTER OF THE NEGROES” – Scanlon’s analysis of this line which appears repeatedly throughout ASK YOUR MAMA states that quarter has several symbolic means. It refers to time (quarter of a century, 25 years); money; the poem itself (4 quarters that center around prominent individuals in jazz; and place (segregated, suburbia). QUARTER carries the heavy meaning of space for me as well. However, my mind kept returning to the slave quarter. It almost read like a mantra “IN THE QUARTER OF THE NEGROES” the places where African American people reside, the places where African Americans call home and perhaps the places where African Americans are free from the restraints dictated by a the wider white society. Even though these are the places “WHERE THE DOORS ARE DOORS OF PAPER,” places of deep pain and despair, “THE SHADOWS” these are still the places where strength and creativity have blossomed and flourished despite racism, blatant and overt. There is also the underlying resentment at having to flourish in such an environment without complaint.
http://nature.berkeley.edu/departments/espm/env-hist/espm160/assignments/carters/carter_photos2.htm

Pg. 480, line 4 “TARRED AND FEATHERED NATIONS”
A punishment allotted to African Americans during slavery. Along with whipping it was used as a method to “cure” the tendency of slaves to rebel and runaway. It was also used form of intimidation during the 20th century. It was most often used in conjunction with lynching.

pg. 480, line 5 “DAGGA” - folk name for cannabis most commonly used in South Africa.

Kimberlie

Akhila Jagdish said...

p. 477: THE QUARTER OF THE NEGROES. It reminded me of New Orleans, with the French Quarter, the Latin Quarter. However, I KNEW that it wasn’t so innocent. Segregated living. This is where YOU are. This is where I am. The repetition throughout the piece reinforces the segregation.

p. 477: DUST OF DINGY ATOMS. Suggests a nuclear dust perhaps. The end of one era as referenced by WHERE THE DOORS OF PAPER to another era of nuclear weaponry.

p. 477: AMORPHOUS JACK-O-LANTERNS CAPER. Perhaps KKK reference, hatred and racism doesn’t have a time and can come anytime and anyplace as referenced by the rest of the stanza.

p. 477: LEONTYNE’S UNPACKING. Leontyne Price was a famous African-American opera singer who debuted at the NY Metropolitan Opera in 1961.

http://en.wikipedia.org/wiki/Leontyne_Price

This would be the first of many references of African-American celebrities.

On p. 478 “AMONG THE SHACKS TO MEET THE BLACKS:
LEONTYNE SAMMY HARRY POITIER
LOVELY LENA MARIAN LOUIS PEARLIE MAE”

Hughes portrays them as one person however, with no last name [though no last name was probably needed due to their celebrity] It came across to me that despite the achievements, despite their talent, they were seen as ONE person. Black.

p. 477: WHERE THE DOORKNOB LETS IN LIEDER. Lieder is “a German word, meaning literally "song"; among English speakers, however, the word is used primarily as a term for European romantic music songs, also known as art songs. More accurately, the term perhaps is best used to describe specifically songs set to a German poem of reasonably high literary aspirations, most notably during the nineteenth century, beginning with Franz Schubert and culminating with Hugo Wolf. Typically, Lieder are arranged for a single singer and piano. Sometimes Lieder are gathered in a Liederkreis or "song cycle" — a series of songs (generally three or more) tied by a single narrative or theme. The composers Franz Schubert and Robert Schumann are most closely associated with this genre of romantic music.”

http://en.wikipedia.org/wiki/Lied

p. 479: IN THE SHADOWS OF THE NEGROES / NKRUMAH. “Kwame Nkrumah was one of the most influential Pan-Africanists of the 20th century, was the leader of Ghana and its predecessor state, the Gold Coast, from 1952 to 1966.”

http://en.wikipedia.org/wiki/Kwame_Nkrumah

p. 479: IN THE SHADOWS OF THE NEGROES / NASSER NASSER. I believe the reference to NASSER was because he was an important political figure in the Developing World politics. p. 478 COMES AN AFRICAN IN MID-DECEMBER / SENT BY THE STATE DEPARTMENT “Gamal Abdel Nasser was the second President of Egypt from 1956 until his death in 1970. Along with Muhammad Naguib he led the Egyptian Revolution of 1952 which removed King Farouk I, heralding a new period of industrialization in Egypt, and a profound advancement of Arab nationalism, including a short-lived union with Syria. Nasser inspired anti-colonial and pan-Arab revolutions in Algeria, Libya, Iraq, and Yemen and played a major role in founding the Palestine Liberation Organization in 1964, and the international Non-Aligned Movement. Nasser is seen as one of the most important political figures in Arab history, and in Developing World politics of the 20th century. He was well-known for his nationalist policies and his version of pan-Arabism also referred to as Nasserism, which won a great following in the Arab World during the 1950s and 1960s. Though his status as the "leader of the Arabs" was severely tarnished by the crippling Israeli victory over the Arab armies in the Six Day War of 1967, many in the general Arab populace still view Nasser as a symbol of Arab dignity and freedom.”

http://en.wikipedia.org/wiki/Gamal_Abdel_Nasser

p. 479: IN THE SHADOWS OF THE NEGROES / ZIK AZIKIWE. Zik Azikiwe was the President of Nigeria.

http://www.britannica.com/eb/topic-46875/Nnamdi-Azikiwe

p. 479: KENYATTA. Jomo Kenyatta of the Kikuyu people was the President of Kenya. He is widely considered the Father of Kenya.

http://en.wikipedia.org/wiki/Jomo_Kenyatta

Anonymous said...

(480) $5.00 bags a deck or dagga

Am I the only one that didn't know what "dagga" was? Hope not…

Dagga:
Dagga is a folk name used to indicate Cannabis sativa; however, the plant Leonotis leonurus is also known as "wild dagga". The term is most commonly used in South Africa as a slang term. The word dagga is a Dutch pronunciation of the Khoisan word, dachah.

Common dagga names include: cannabis (Eng.); dagga (Afr.); Umya (Xhosa); Matekwane/Patse (Northern Sotho); Nsangu (Zulu)

(Source: http://en.wikipedia.org/wiki/Dagga)

Deck:
3b: a packet of narcotics

(Source: http://www.merriam-webster.com/dictionary/deck)

Sandra Renee said...

AND THE TOLL BRIDGE FROM WESTCHESTER
IS A GANGPLANK ROCKING RISKY
BETWEEN THE DECK AND SHORE
OF A BOAT THAT NEVER QUITE
KNEW ITS DESTINATION

Following the reference to WHERE IS THE COLORED LAUNDROMAT,/SINCE WE MOVED UP TO MOUNT VERNON, and considering the travel of Black women from Harlem to Westchester to work as domestic laborers for Whites, the toll bridge from Westchester no doubt discusses the tenuous circumstances of the movement of Blacks from Harlem to the suburbs, both those who went to live there and those who returned each night. A further reference may be to the Philipse toll bridge built in 1693 over Spuyten Duyvil Creek (the Harlem River), which was for 60 years the only bridge connecting the island of New York with the mainland (TF Devoe, "A History of Public Markers in the City of New York)". In "History of Westchester County," J. Thomas Scharf reports that "About the year 1698 a cargo of negroes brought from the coast of Guinea was landed at Rye, in the interest of Frederick Philipse, of Philipse manor." The road from Harlem to Westchester remains a toll road today. A rocking gangplank, indeed: a toll is required to cross a bridge to leave or enter Harlem was originally built by a family that grew wealthy on the backs of slaves.

Sandra Renee said...

FILIBUSTER VERSUS VETO
LIKE A SNAPPING TURTLE -
WON'T LET GOT UNTIL IT THUNDERS

In 1957, in opposition to the Civil Rights Act of 1957, Strom Thurmond, fine Dixiecrat and erstwhile racist, conducted the longest filibuster ever by a U.S. Senator. Despite Thurmond, the Act passed, although his antics did serve to help in drastically weakening the bill. While the 1957 Act established the Commission on Civil Rights and the Civil Rights Division in the Department of Justice, it wasn't until the Civil Rights Act of 1964 that racial discrimination and segregation were (officially) made illegal.

Anonymous said...

MOLTO BENE - Italian for "very good."(By Sarah Cooke)

Anonymous said...

NKRUMAH - Kwame Nkrumah (1909-1972) was an influetial supporter of Pan-Africanism and leader of Ghana and the Gold Coast from 1952 to 1966. (By Sarah Cooke)

Anonymous said...

"WHEN THE SAINTS GO MARCHING IN" - U.S. Gospel hymn that incorporates elements of folk music. It is also frequently played as a jazz song or as a funeral march. (By Sarah Cooke)

Anonymous said...

DIXIE - A 19th-century American song also known as "I Wish I Was in Dixie" or "Dixie's Land." It originated from minstrel shows. It is also seen as a symbol for the southern U.S. (By Sarah Cooke)

Anonymous said...

Tacit vs. Tacet

As indicated earlier in the blog tacit (as in, tacit knowledge) is used in place of the musical tem tacet. Tacit refers to a form of knowledge as conceived by philosopher Michael Polanyi. Contrary to explicit knowledge (that which is easily communicated) tacit knowledge concerns the knowledge a person has but does not know they have, or at least cannot easily find words to explain the knowledge. (I think we all had this experience last week with the inventories of what we know.) Tacit knowledge requires intimate trust and familiarity with a person for transfer and is considered more valuable because it provides context of a persons experiences. In a way this blog helps to gain the tacit knowledge that Hughes brought to “Ask Your Mama.”

Tacet in music is a period of silence or rest. These periods in the poem are suggestions of subsurface interface with textuality rather than the specific references he gives the reader else ware in the column on the right.

Hughes, by clarifying the parts of tacit is indicating the default reading of any poem. Any reader brings their own tacit/tacet knowledge of context to a poem that is unique. Hughes creates another dimension to this by adding a supposed sensory experience to the piece al the while knowing the reader can never abandon their own tacit knowledge.

Tacit may also be a pun on tessitura, or texture, timbre in music.
http://en.wikipedia.org/wiki/tacet
http://en.wikipedia.org/wiki/tacit

lilac murmur said...

Section: CULTURAL EXCHANGE

“AND THE TOLL BRIDGE FROM WESTCHESTER
IN A GANGPLANK ROCKING RISKY
BETWEEN THE DECK AND THE SHORE
OF A BOAT THAT NEVER QUITE
KNEW ITS DESTINATION”

When I read this section, I was caught by the idea of the women from Harlem traveling up to Westchester for work (probably in houses), as was intimated by someone else on the blogspot. Hughes goes on compare this traversing of space, and socio-ethnic lines in a really interesting way – using the metaphor of a ship, which is completely loaded. The ship, of course, suggests the ships that Africans were brought to the west on, intended as slaves. Is going to Westchester to work in some wealthy white person’s house any different, in the era in which this work was written? The gangplank (bridge between the ship and the shore) is “rocking risky”… is the ship safer, or the shore? This uncertainty is echoed in that the boat never knew its destination. Now there is no literal slave boat, there are a series of choices that African Americans could make within the given racial, social, and political climate they were living in… and what is the destination of those choices, forced or unforced? Are desires every really going to be fulfilled? Are they limited by reality, in and of themselves? All of these questions come up for me in reading this little section, and really it plays into the whole feeling of this work – the ambiguity of where African Americans are coming from (everything that got lost along the way, as well as everything that was carried along), and where they are heading, and how they can get there. There is a strong theme of lineage in this poem, which I guess I’ll comment on later.

(caitlin scholl)

Anonymous said...

LOVELY LIEDER LEONTYNE – Leontyne Price was one of the first African Americans to become an opera superstar at the Metropolitan Opera. Born in 1927 and raised in Mississippi, she starred at the Met from 1961-1985. Her signature role at the Met was in the title role of Verdi’s Aida, playing the role of an African princess that had traditionally been played by white singers in black face makeup. Price sang primarily Verdi, Puccini and Mozart operas, not lieder. Hughes may have used “lieder” (German art song) to equate “leader” because it was a classical music song term and she led the way for other black opera singers.
Leontyne Price - Last Aida at the Met 1985: http://ww.youtube.com/watch?v=jVFMCTQvrMQ
Leontyne Price – Early Aida (c. 1961) excerpt, “O Patria Mia:” http://www.youtube.com/watch?v=fTuvi2IgFSk
“A Brief History of Blacks” in Opera By Carolyn Sebron: http://wwwtheroot.com/print/52562
Leontyne Price (bio): http://enwikipedia.org/wiki/Leontyne_Price

bt said...

12 Bar Blues - A very simple structure for songwriting. The 12 Bar Blues form can be quickly learned and improvised lyrically and musically. It is interesting that Langston Hughes uses “Jazz” in the title. “The Hesitation Blues (which occurs several times throughout the song) represents a common musical style as opposed to a well educated musical style. To call Blues “jazz” is to label the label the music in a way that elevates the style. I believe that this is a part of the overall message of the piece. To me the poem is saying “We must articulate our culture and own it - elevate its status in our minds -- so that our self perception is proud and educated – while being deeply rooted in our past.
http://en.wikipedia.org/wiki/Twelve-bar_blues

bt said...

Moods – This word suggests shades of meaning – mercurial but more stable than emotions – defined more my tone than by structure.
A mood is a relatively long lasting emotional state. Moods differ from emotions in that they are less specific, less intense, and less likely to be triggered by a particular stimulus or event. http://en.wikipedia.org/wiki/Mood_(psychology).

bt said...

The number 12 is a building block in the constructs of our meaning making: 12 months, 12 disciples, 12 major scales, 12 notes in a chromatic scale, an even dozen, 12 + 1 gives us the very unlucky 13. 1 + 2 = three (the number of the trinity).
http://en.wikipedia.org/wiki/Chromatic_scale
http://musictheoryblog.blogspot.com/2008/02/all-12-major-scales.html