HUM 5
BLUES
I. HISTORY
Murky, murky, murky. Probably emerges in its modern form during Reconstruction (1865-77). I’ll explain.
II. THE SCALE
The blues scale is like a normal major scale (for example, all the white keys from one C to the next C on a piano), except it can’t seem to make up its mind between the normal third note (E in a C major scale) and the same note lowered a half-tone (E-flat in a C major scale), or between the normal seventh note (B in a C major scale) and the same note lowered a half-tone (B-flat in a C major scale). The same thing often happens to the fifth note, too (G and G-flat in a C major scale). Singers and instruments with flexible pitch (especially a guitar, but certainly not a piano) can bend the pitch up and down between normal and flat on these notes of the scale. Since these notes are so distinctive, performers call particular attention to them. They are often called “blue notes.”
C—D—[E-flat—E]—F—G—A—[B-flat—B]—C
III. THE RHYTHM
Jazz in general and blues in particular love syncopation, which means featuring important melody notes that are off the beat. That’s why band leaders setting the tempo for their musicians will snap their fingers off the beat (accenting the “ands”: 1 and 2 and 3 and 4 and).
IV. THE CHORDS
If you number the notes of the major scale (say, all the white keys from one C to the next on the piano) and build a chord on each note, then you can name the chords by using the number of the note they’re built on. Blues harmonies feature the I, IV, and V chords (C, F, and G, respectively, in a C major scale).
V. THE STRUCTURE
A standard blues melody consists of twelve bars (though this number can vary), four beats each. Typically the IV chord falls on the fifth bar.
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VI. THE PERFORMANCE
Melody, repeat, instrumental improvisation. Not played note for note from a score.
LISTENING EXAMPLES
“PURE” BLUES
♫ Robert Johnson, “Cross Road Blues”
♫ Bessie Smith, “St. Louis Blues” (recorded 1925)
♫ Big Mama Thornton, “Hound Dog” (recorded 1952)
♫ B. B. King, “Thrill is Gone”
♫ Derek and the Dominos, “Have You Ever Loved a Woman?”
♫ Allman Brothers, “One Way Out”
BLUES AND ROCK
♫ Elvis Presley, “Hound Dog” (recorded 1956)
RAGTIME
I. HISTORY
Flourishes 1895-1915.
II. THE SCALE
Normal scale, not blues scale.
III. THE RHYTHM
Syncopation, but strong beats accented.
2 IV. THE CHORDS
Free, largely European harmonies.
V. THE STRUCTURE
More complicated than blues.
VI. THE PERFORMANCE
Much of it played (largely) as written, note for note. But contemporary accounts from early twentieth century describe extensive improvisation.
LISTENING EXAMPLES
♫ Scott Joplin, “Maple Leaf Rag” (piano roll made 1916)
♫ Jelly Roll Morton, “Maple Leaf Rag” (recorded 1938)
JAZZ
I. HISTORY
Murky, murky, murky. The term “jazz” is first known to have appeared in print in 1913. It comes into common use in 1917. I’ll explain.
II. THE SCALE
Primarily blues.
III. THE RHYTHM
Syncopation.
IV. THE CHORDS
Anything, increasingly complex as time goes by.
V. THE STRUCTURE
A. Blues form, as above.
3 B. Popular song form: 32-bar, AABA, where B = “bridge” section.
C. Other forms, usually with the number of bars divisible by 8.
VI. THE PERFORMANCE
Head—choruses improvised—head. Seldom note for note from a score and then generally only the head.
LISTENING EXAMPLES
JAZZ AND BLUES
♫ King Oliver’s Creole Jazz Band, “Dippermouth Blues” (recorded 1923)
♫ Louis Armstrong, “West End Blues” (recorded 1928)
♫ Miles Davis, “So What?” (recorded 1959)
JAZZ NOT IN BLUES FORM
♫ Benny Goodman Trio, “Body and Soul” (recorded 1935)
♫ Coleman Hawkins and his Orchestra, “Body and Soul” (recorded 1939)
♫ Eddie Harris, “Born to be Blue” (recorded 1965)
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