Chapter 8 – The BluesChapter 8 – The Blues

Class Issues:Class Issues: There were class distinctions within the There were class distinctions within the

African American community.African American community. Blues musicians were outcasts, rejected by Blues musicians were outcasts, rejected by

the more settled, upwardly mobile members the more settled, upwardly mobile members of the race, particularly the devoutly of the race, particularly the devoutly religious.religious.

To the devout, the blues were “devil songs.”To the devout, the blues were “devil songs.”

The Spiritual and the BluesThe Spiritual and the Blues

Considering both the spiritual and the blues, what role did slavery play Considering both the spiritual and the blues, what role did slavery play in the evolution of these genres?in the evolution of these genres?

spiritualspiritual• began in slavery began in slavery bluesblues• evolved after the Civil War, strongly influenced by the changes that evolved after the Civil War, strongly influenced by the changes that

affected the lives of African Americans following emancipationaffected the lives of African Americans following emancipation

What are some of the changes that affected the lives of African What are some of the changes that affected the lives of African Americans following the Civil War?Americans following the Civil War?

new dimension of leisurenew dimension of leisure new degree of solitudenew degree of solitude new set of social and economic problems; need for money; necessity new set of social and economic problems; need for money; necessity

for finding employmentfor finding employment broader contacts and experiencesbroader contacts and experiences greater fluency in the American languagegreater fluency in the American language new mobilitynew mobility

Characteristics of the BluesCharacteristics of the Blues

1. Blues subjects - the man-woman relationship1. Blues subjects - the man-woman relationship

2. Musical form - a succession of three-line 2. Musical form - a succession of three-line stanzasstanzas

• Line two tends to repeat line one (a, a, b).Line two tends to repeat line one (a, a, b).

3. Instruments - The folk roots of the blues were 3. Instruments - The folk roots of the blues were often sung unaccompanied. often sung unaccompanied.

Which was the first instrument to become Which was the first instrument to become the standard accompaniment to the blues?the standard accompaniment to the blues?

• guitarguitar

Melodic material and singing Melodic material and singing stylestyle: :

What are some of the different singing styles?What are some of the different singing styles? shoutingshouting humminghumming singing in falsettosinging in falsetto singing in the false bass voicesinging in the false bass voice chanting in the manner of a recitativechanting in the manner of a recitative SpeakingSpeaking

What is the general tendency for melodic contour of the What is the general tendency for melodic contour of the blues?blues?

• to start the phrase high and proceed downwardto start the phrase high and proceed downward• ending with a dropping inflectionending with a dropping inflection

StructureStructure: :

The importance of 1912The importance of 1912What are the conventions of the post 1912 tendencies?What are the conventions of the post 1912 tendencies?

number of lines/stanza: three, the second a repetition of the firstnumber of lines/stanza: three, the second a repetition of the first phrases: four bars long (“12-bar blues”)phrases: four bars long (“12-bar blues”)

harmonic plan: harmonic plan: • phrase 1: I I I I7phrase 1: I I I I7• phrase 2: IV IV I Iphrase 2: IV IV I I• phrase 3: V7 (IV) I Iphrase 3: V7 (IV) I I

instrumental accompaniment:instrumental accompaniment:• guitarguitar• harmonica (“blues harp”)harmonica (“blues harp”)• improvised instruments:improvised instruments:• Call and reponseCall and reponse

Ma Rainey’s “Countin’ the Blues”Ma Rainey’s “Countin’ the Blues”

Identify the structural and stylistic traits Identify the structural and stylistic traits

Listen for:Listen for: twelve-bar blues patterntwelve-bar blues pattern breaksbreaks call-and-response patterncall-and-response pattern

Blind Lemon Jefferson (1897-1929)Blind Lemon Jefferson (1897-1929)

Texas blues singer and guitaristTexas blues singer and guitarist performed in Dallas, Texas where he performed at performed in Dallas, Texas where he performed at

times with Leadbellytimes with Leadbelly recorded in Chicago in the late 1920srecorded in Chicago in the late 1920s died mysteriously in 1929died mysteriously in 1929 Major influence on blues and later rock guitaristsMajor influence on blues and later rock guitarists ““Prison Cell Blues” recorded in Chicago in 1928. Prison Cell Blues” recorded in Chicago in 1928.

Listen for:Listen for:• unconventional form (NOT twelve-bar blues)unconventional form (NOT twelve-bar blues)• fluid performance stylefluid performance style

Instruments and the Blues StyleInstruments and the Blues Style

What are some other instruments commonly What are some other instruments commonly heard in blues music?heard in blues music?

harmonica (“blues harp”)harmonica (“blues harp”) improvised instruments:improvised instruments:

• jugjug• washboardwashboard• inverted washtub, with a piece off rope stretched inverted washtub, with a piece off rope stretched

between a hole through its center and a broom between a hole through its center and a broom handle (= bass)handle (= bass)

What are some common techniques that players What are some common techniques that players use to alter the sounds of the instruments?use to alter the sounds of the instruments?

““bending” the pitchbending” the pitch• On guitar, pushing or pulling on the string to On guitar, pushing or pulling on the string to

make the pitch sound highermake the pitch sound higher Likewise, the voice might slide into the pitch.Likewise, the voice might slide into the pitch.

““bottleneck” or slide guitarbottleneck” or slide guitar• sliding the back of a knife blade on the strings of sliding the back of a knife blade on the strings of

the guitarthe guitar• using a broken top of a bottleusing a broken top of a bottle

Robert Johnson’s “Preachin’ Blues Robert Johnson’s “Preachin’ Blues (Up Jumped the Devil”(Up Jumped the Devil”

Example of slide guitar playingExample of slide guitar playing ““bottleneck” style on the guitarbottleneck” style on the guitar Note: Johnson does not follow the twelve-Note: Johnson does not follow the twelve-

bar blues pattern in this example.bar blues pattern in this example.

Who is Robert Johnson (1911-1938)?Who is Robert Johnson (1911-1938)?• Mississippi Delta blues singer and guitaristMississippi Delta blues singer and guitarist• recorded only twenty-nine songsrecorded only twenty-nine songs• died young, yet extremely influential, largely due died young, yet extremely influential, largely due

to his recordingsto his recordings

Early published bluesEarly published blues

1912 important because many pieces were 1912 important because many pieces were publishedpublished

Who was W.C. Handy?Who was W.C. Handy? composer/bandleadercomposer/bandleader from Memphisfrom Memphis promoted blues as popular music and brought it to a promoted blues as popular music and brought it to a

wide publicwide public Blues: An AnthologyBlues: An Anthology (New York, 1926), a famous (New York, 1926), a famous

collection of early published blues (by Handy and collection of early published blues (by Handy and others).others).

Boogie WoogieBoogie Woogie

What is boogie-woogie?What is boogie-woogie? solo piano form (like ragtime)solo piano form (like ragtime) developed out of the blues: form and harmonydeveloped out of the blues: form and harmony driving left hand; ostinato (repeated pattern)driving left hand; ostinato (repeated pattern) likely an adaptation of what blues singer-guitarists had been likely an adaptation of what blues singer-guitarists had been

doingdoing popular in the late 1930spopular in the late 1930s major influence on rock ‘n’ roll of the 1950smajor influence on rock ‘n’ roll of the 1950s

Mr. Freddie BluesMr. Freddie BluesLux Lewis, pianoLux Lewis, pianoOstinato in left handOstinato in left handRepeated figure in right handRepeated figure in right handUnderlying 12 bar blues formatUnderlying 12 bar blues format

Urban BluesUrban Blues

What are some of the distinguishing characteristics of What are some of the distinguishing characteristics of urban blues?urban blues?

reflects harsher aspects of urban lifereflects harsher aspects of urban life piano, essentially the blues-related boogie-woogiepiano, essentially the blues-related boogie-woogie electric guitarelectric guitar bassbass drumsdrums strongly influenced by gospel traditionstrongly influenced by gospel tradition very influential on later blues, rhythm and blues, and rock ’n’ rollvery influential on later blues, rhythm and blues, and rock ’n’ roll Chicago-home for musicians from the southChicago-home for musicians from the south Kansas City –rise of blues singers backed by big bandsKansas City –rise of blues singers backed by big bands

What are some of the changes that have occurred What are some of the changes that have occurred in blues at the turn of the century?in blues at the turn of the century?

fewer recordings are being producedfewer recordings are being produced technologically and stylistically slicker technologically and stylistically slicker

recordingsrecordings Blues festivals and live concerts have Blues festivals and live concerts have

largely replaced the clubs.largely replaced the clubs. racial and gender shifts:racial and gender shifts:

• White male blues singers have come into White male blues singers have come into prominence:prominence:

Stevie Ray Vaughan (1980s)Stevie Ray Vaughan (1980s) Johnny WinterJohnny Winter William ClarkeWilliam Clarke

Texas Flood by Texas Flood by Stevie Ray VaughanStevie Ray Vaughan

-virtuosic guitar technique-virtuosic guitar technique-urban sound of bass and drums-urban sound of bass and drums-12 bar form-12 bar form-Vaughan had both a conservative taste in music -Vaughan had both a conservative taste in music

and progressive approach to guitar playing.and progressive approach to guitar playing. conservativeconservative

• twelve-bar blues patterntwelve-bar blues pattern• blues song written in the 1960sblues song written in the 1960s

progressive approach to guitar playing.progressive approach to guitar playing.• Jimi Hendrix was a significant influence on his playing and Jimi Hendrix was a significant influence on his playing and

performance style.performance style.• Made use of such effects as pedals (wah-wah and others) Made use of such effects as pedals (wah-wah and others)

and the guitars tremolo bar.and the guitars tremolo bar.