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55 Cards in this Set
- Front
- Back
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basic blues |
- 12 bars - 3 notes - call and response - 2 identical lines, 3rd answer |
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Typical Techniques |
- note bending - sliding - vocal-like effects on instrument |
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Microphones |
- made new ways of singing possible |
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Lyrics |
- usually about escape - 'I got up this morning' - ironic humour, concerned relation between sexes, mixture of church and bedroom images - personal |
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Electric Guitars |
- appear late 30's - amplify for rawer, ferocious physical sound - First important electric Band: Muddy, Claud smith, Jimmy Rogers, Baby Face Leroy, Little Walter Jacobs |
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Changes in Blues |
20's - 40's localized culture -> national Everyone participates -> audience acoustic -> electric |
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Whooping |
- Roots: pygmies & Congo-Angola - yodel-ish - octave jumping - most strongly survived technique - e.g. Tommy Johnson, Muddy Waters, Howlin' Wolf |
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Voice Masking |
- Changing voice with mask - deep chest growl, false bass tones, strangulated shrieks - religious/ritual associations |
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Hesitation Blues |
- from 1920's - 2 lines and refrain - melody: ragtime and minstrel influence |
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Mississippi Delta Blues |
- gritty voice - guitar and piano sound like percussion - sliding guitars |
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East St. Louis Blues |
- AAB format 2 identical lines, reply - like early jump-ups - 50's popular with sax-heavy jump bands with hight amplified guitar leads |
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East Texas Blues |
- Guitar accompanied blues - rhythmically diffused(drawn out) answering vocal - piano driving dance rhythm |
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Crossroad story |
Roots:Voodoo lore (African religious belief) - black man representing Legba (trickery god) - Legba opens path for supernatural powers and is associate with crossroads. identified as 'devil of christianity' Story - learn guitar by selling soul to devil - Go to crossroad before midnight alone and play - big black man come, take guitar and - then can play anything |
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Banjo |
- Roots: African instrument - thought to be white - technique to play: linked to black - eventually replaced with guitar, piano, etc. -1920's used in Jazz rhythm but in 30's replaced by guitar - no role in blues - passed to whites through minstrel shows |
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Great Depression and Blues |
- 1930's to 1940's - beginning: St. Louis Blues - blues was isolated in country - no need to learn white music - play almost exclusively to blacks - white and black in Delta more distant
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Helena |
- 30's Helena center of blues - Helena start to share music with rest of North Delta via Radio e.g. Rice Miller, Robert Lockwood - First radio Station: King Biscuit Time - Helena good location to reach black homes with radio - first radio reach only about 40 miles. By 1944, increase to 80 mile - Blues turned into city style foreshadowing R&B - a city with no rules. No one cares if something is illegal |
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WREC Radio |
- founded by Sam C. Phillipps - Passion for blues - revolutionized American pop by doing something about black music passion - Memphis - Made SUN record |
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Memphis |
- Beale Street - Limited musical taste - 1850's white liked ball room dancing so black s play orchestra - 1880's people return from having run away from yellow fever, by 1900's musical diversity - Memphisians can read music - 20's 30's successfull Jazz musicians - 30's 40's highway and wartime jobs brought Delta blacks and inported Delta blues - but did not have original native artists - Recording companies: STAX and SUN |
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New Orleans |
- 1900 jazz unknown outside of new orleans. Only became popular with blacks in 20's. - did not attract many bluesmen - Jazz oriented blues style related to Texas and Kansas City
Jazz Development: - 1900 jazz only known in new orleans - 1925 change music format to improvised solos - 1935 New orleans jazz in fashion - 1943 swing bands popular
The change to Bebop and modern Jazz meant that music was becoming sophisticated art rather than entertainment. Bebop is prototype jazz. Fast tempo. |
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Rock n Roll |
- arrive 1955, attracting white and black - make difficult for bluesmen - Muddy, Wolf, BB King still worked rgularly - Sonny Boy, Nighthawk drifting between Chicago and Deep south - Jimmy Rogers quit |
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Delta |
- no longer center after northern migration - But delta blues survived esp. in Chicago - In mississippi, up til about 1918, blues sounded like 19th century ballad and jump ups - voice main and instrument only support - blacks here thickest black blood |
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Basic Facts |
- Solo blues has freedom but group blues has to be coordinated and regulated. - known as the devil's music - black lower class developed blues. black middle class disliked blues. - Made a worldwide impact. - borrowed phrases, lines, verses - first only in Mississippi and Texas, but spread to other southern states, Chicago, and St. Louis
book TWO: - maybe scottish origin too
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White blues |
- first crossover with minstrel shows 1840's, but absorbed back by blacks after Civil War - to blacks, blues had backward image so blacks wanted to move forward with R&B, etc.
- Whites began listening to blacks early in Memphis. by 1950's young whites listen almost exclusively to blacks. Parents were frightened. |
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FEN (foreign east network) |
- for military abroad to listen to music - influence in spreading music |
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Senegambian |
- Not many large wooden drums. other slave coast more elaborate - group call and response - more string instruments - singing was long bending melodic lines - hands clap - blues note (flattened 3rd) - vocal sliding, gliding, quivering, flattening, wavering - influenced English music ( developed 'Banjo') |
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Field Music |
- weird in intervals - strange in rhythm - hard to copy |
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Griots |
- social class for singers and musicians - thought to be friendly with evil spirits - their praise of songs become insults |
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Chicago |
- in Illinois - became center of blues after northern migration. Chicago seemed like different world to southerners with rich industry and more opportunities. - Chess records - Maxwell Street - electrified Delta Blues |
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Conflicting opinions of two authors |
Book 1 - almost impossible to play convincingly - accent pronunciation impossible unless grow up with it - made by delta - focus on male blues Book 2 - Delta emphasized because location close to Memphis and Chicago (recording) - femals significant too. They crossed musical boundaries by playing anything that was popular at the time. - don't need to be good bluesan to be jazzman - blues travel both ways. city blues influence country through records. |
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Piedmont blues |
- AKA southeastern blues - melodic - ballad, ragtime |
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Jump up blues |
- rooted in blues - up tempo - turn into ealry rock and roll - prototype R&B |
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Cleveland |
- turn from uncertain crossroad community to community of life and purpose white resulted in attracting more whites from hills. - known as place to learn blues in addition to Drew, Ruleville - Dockery no tricking out money - Dockery = Charley patton and Robert Johnson |
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Radio, Records (phonographs) , CDs, Mp3 |
- Radio: provide music without musician physically there - Records: need to listen in order. Stopped making because of war, recording ban, and no money during depression. - Phonograph records available since 1897. Blues was especially popular in 1914~15. in 1917, Jazz was popular. - CD: can play in any order - Mp3: can program |
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Mojo Hand |
- for good performance - red fanelbags smelling of oil and perform - blacks especially in Louisiana believed - salt and pepper to kill - mojo 'doctors' |
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Amplification |
- Power of Delta's deepest music unleashed full force by power of electricity |
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Advantage of poverty |
- cannot buy piano. Piano is limited to keys, while guitar can hit keys that are nonexistant. - the inability to read makes one a close observer |
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Detroit |
- motown |
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Boogie Woogie (modernized Jazz) |
- 8 to the bar - emerge from rural south during turn of century - owing more to ragtime than blues - 'boogie' pointed to what men paid prostitutes to do. - began in southern barrellhouses - short lived. revival in 1930's was more long lasting. - became pop during World War II |
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1920's |
-Jazz popular with blacks - Black Delta Jazz performed for whites
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1940's |
- by 30's, small bands preferred - big bands out of fashion. Because of modernization and WW2, difficult to keep band together so, black start R&B - black music became urban phenomenon - 30's and 40's most productive blues decades - 30's and 40's not clear between folk and blues |
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Ways to encounter blues |
- places. can only listen to once - media, lack of visual aid so close listening |
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50's and 60's |
- sudden emphasis of instruments especially guitar in rock and roll
- 60's blues and folk folk revival - folk fans did not want rock - protest songs were common in folk - first: reissue of Robert Johnson - easier for white to play black than sing black - switch of white and black audience - soul overshadows blues in late 60's (twenty years later merging into deep soul) |
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Rag Time |
- syncopation - predecessor of Jazz |
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Jazz vs. Blues |
Jazz: - 12 bar, tonality, mood is blues but add more sound. played in Bb. Main is instrument. - jazz musicians place value on plying bues convincingly. - came from same origin as blues and gospel Blues: - Guitar open string chord. Singing main. |
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Diddly Bow |
- Thinck broom straw on side of barn - Played by striking but North Western Mississippi liked bottleneck rub. THiw as the beginning of bottleneck. - exclusive to mississippi. |
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Songsters |
- After blind lemon Jefferson, adjusted to blues - Leadbelly best known songster - performed many rural songs in adddition to blues - songsters and bluesmen emerged same time but 20's and 30's dominated by bluesmen. |
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Women BLues |
-dominated first few years of blues recording - bessie smith and ma rainer only two whose reputation has survived - did not dissapear but because of depresssion, people in mississippi, texas, carolina cheaper to record. Didn't require songwriters or backup or sometimes even recording studio - helped chang course of american pop music letting rhythm loose and getting rid of shyness. introduced listeners of country to music of rural south. treating fans back home with wealth. gave record buyers first taste of jazz. made possible for rural south male blacks to record. - tightened bong between jazz and blues in 20's |
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Piano |
- meant many things - a miniature orchestra - tempered scale in a box - percussion - turn of century, middle class standard - in brothels and beer joints |
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US identity |
- blacks most american. no traceable link to EU. - but black past not recorded - trigger Harlem Renaissance in 20's - black music thought to be greatest contribution to American culture. |
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R&B |
- emerge as R&B in late 40's with help of jukebox, radio, - reaction to faster pace and looswer rhythms of city life - take shape during WWII - just after WWI known as jump or jive |
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California blues |
- indistinguishable from R&B - emerged around 40's |
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Folklorist |
- placed faith in oral tradition - took portable recording equipment - Alan Lomax recorded prisoners
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Soul |
- sound like church to white - to black, sound like sing and salvation. devils music with church music. - pentecostal derived - finally shook southern accent |
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White audience- |
- guardianship of blues passed to white - depending on them, commercial - determine musics meaning as much as performers |
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rap |
- only remaining form of african american music - first black pop free of southern inflection - merge of bebop and hip hop |
