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The Big Beat: Origins and Development of Snare Backbeat and Other Accompanimental Rhythms in Rock’N’Roll

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The Big Beat: Origins and Development of Snare Backbeat and Other Accompanimental Rhythms in Rock’N’Roll The Big Beat: Origins and Development of Snare Backbeat and other Accompanimental Rhythms in Rock’n’Roll Volume I: Chapters Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor of Philosophy by Garry Neville Tamlyn M.Mus. B.Mus. Grad.Dip.Ed. March, 1998 ii Abstract. This thesis focusses on the origins and development of snare backbeat in rock’n’roll. Some other accompanimental rhythms, such as cymbal rhythms, piano and double bass accompaniments, are investigated in order, firstly, to place snare backbeat within an accompanimental context and secondly, to elucidate some stylistic influences informing the development of snare backbeat. The thesis is divided into six chapters. Chapter One investigates references to rock rhythm in musicological, socio-cultural and journalistic accounts. Clarification of terminology and methodology used in the thesis is located at the beginning of Chapter Two. The latter half of Chapter Two details the frequency of occurrence of snare backbeat and other accompanimental rhythms in the recorded output of Chuck Berry, Fats Domino, Bill Haley, Buddy Holly, Jerry Lee Lewis, Carl Perkins, the Platters, Elvis Presley, and Little Richard. Subsequent chapters focus on the origins of snare backbeat: Chapter Three investigates the occurrence of snare backbeat in jazz styles in conjunction with the development of the drum kit; Chapter Four details the influence of rhythm and blues on rock’n’roll rhythm; and Chapter Five explores the rhythmic roots of the rock’n’roll backbeat in gospel and country and western musical styles. Conclusions are presented in Chapter Six. The thesis also contains four appendices. A sample of rock drumming notations are included in Appendix One allowing the reader to observe snare backbeats in their complete context. Appendices Two and Three contain mini-analyses of around 2 500 rock’n’roll and rhythm and blues recordings. Appendix Four focusses on 1940s rhythm and blues produced in Chicago with Judge Riley drumming. The empirical information presented in the latter three appendices informs discussions and conclusions presented in the main body of the thesis. iii Acknowledgements. A study such as this one requires the help of many individuals and institutions, and I would like to summarily thank all those whose assistance and support made this work possible. However, there are some who deserve special mention. I am indebted to my friend and supervisor Dr. Philip Tagg for his support, advice and encouragement. Our endless discussions of musical reality (from C.P.E. Bach to ZZ Top) contributed much to my positioning of this study within a broad musical context and, again and again, has made me stop and rethink about music research, popular music and the world in which we live. Thanks to the staff at the Institute of Popular Music, the Department of Music, James Cook University of North Queensland and my colleagues at Queensland Conservatorium, Griffith University, for their encouragement and support during my long periods of absence (geographic and other). Finally, special thanks to my family and close friends in Australia and Liverpool for their willingness to allow my constant companion (The Thesis) into their lives and for taking my sometimes unusual behaviour in its stride. iv Table of Contents. Abstract. ii Acknowledgements. iii List of Figures. viii List of Tables. xi Preface. xv Chapter One . 1 1.1 The Problem. 1 1.2 Musicological Studies of Rhythmic Organization in Rock and Roll. 2 1.3 Sociological Accounts Concerning Rhythmic Organization in Rock and Roll. 19 1.4 Rock and Roll Journalism and Criticism Concerning Rhythmic Organization in Rock and Roll. 28 1.5 Conclusions. 31 1.6 Consequences of a Lack of Formal Methodology Concerning Rock and Roll Rhythmic Structures. 31 1.7 Genre or Style? . 39 1.8 Why a Musicology of Rock and Roll Rhythms? . 44 Chapter Two . 49 2.1 Rock Rhythmics and Analytic Terminology. 49 2.2 Snare Backbeat. 54 2.3 Cymbal Rhythms. 60 2.4 Other Drum Beats. 62 2.5 Demarcating the Analytic Sample. 64 2.6 Rock’n’Roll Recordings Analytic Sample. 69 2.7 Snare Backbeat in Rock’n’Roll. 74 2.7.1 Chuck Berry. 74 2.7.2 Antoine ‘Fats’ Domino. 80 2.7.3 Bill Haley. 91 2.7.4 Buddy Holly. 99 2.7.5 Jerry Lee Lewis. 104 2.7.6 Carl Perkins. 112 2.7.7 The Platters. 117 2.7.8 Elvis Presley. 121 2.7.9 Little Richard. 127 2.8 Conclusions. 132 2.8.1 Snare Backbeat in Rock’n’Roll. 132 2.8.2 Other Drum Beats in Rock’n’Roll. 144 2.8.3 Cymbal Rhythms in Rock’n’Roll. 145 Chapter Three . 148 3.1 Rhythmic Roots of Rock’n’Roll: Jazz. 148 3.2 Jazz Drumming: Early Jazz. 161 3.2.1 Conclusion: Backbeat in Early Jazz Drumming. 185 3.2.2 Backbeat in Other Early Jazz Accompaniments. 185 v 3.3 Jazz Drumming: The Swing Era. 188 3.3.1 From to . 191 % % # % $ % $ # $ $ " $ $ ! " $ $ $ $ ! 3.3.2 Swing Era Snare% Roll Rhythms.% . 197 3.3.3 Swing Era Ride Cymbal Ostinati. 200 3.3.4 Conclusion: Backbeat in Swing Era Drumming. 203 3.4 Jazz Drumming: Bebop. 204 3.4.1 Conclusion: Backbeat in Bebop Drumming. 209 Chapter Four . 211 4.1 Rhythmic Roots of Rock’n’Roll: From the mid-1940s to the Rock’n’Roll era . 211 4.2 Rock’n’roll’s Musical Precursors . 212 4.3 Rhythmic Roots of Rock’n’Roll: Rhythm and Blues . 220 4.3.1 Rhythm and Blues Recordings Sample. 230 4.3.2 Snare Backbeat in Rhythm and Blues: Overview . 238 4.3.3 Snare Backbeat in Rhythm and Blues. 247 4.3.4 Fats Domino’s Rhythm and Blues Recordings . 265 4.3.5 Little Richard’s Rhythm and Blues Recordings . 275 4.3.6 Other Drum Beats in Rhythm and Blues . 279 4.3.7 Conclusion: Snare Backbeat in Rhythm and Blues . 286 4.4 Rhythmic Roots of Rock’n’Roll: Chicago Rhythm and Blues. 288 4.4.1 Chicago Rhythm and Blues Recordings with Judge Riley Drumming . 297 4.4.2 Conclusion: Snare Backbeat in Judge Riley’s Drumming. 301 Chapter Five . 304 5.1 Backbeat in Chicago Gospel. 306 5.2 Backbeat in Doowop. 311 5.3 Backbeat in Chicago Sanctified Gospel. 316 5.4 Backbeat in Country and Western Music. 321 Chapter Six . 349 6.1 Snare Backbeat in Rock’n’Roll and Pre-Rock’n’Roll Musics. 349 6.1.1 Snare Backbeat in Rock’n’Roll. 349 6.1.2 Snare Backbeat in Jazz. 352 6.1.3 Snare Backbeat in Rhythm and Blues. 353 6.1.4 Backbeat in Gospel and Doowop. 356 6.1.5 Backbeat in Country and Western. 356 6.2 Methodology and Implications. 357 6.3 Further Research. 359 6.4 Final Thoughts. 361 Bibliography . 364 Discography . 375 vi Appendix One . 384 Appendix 1.1 Percentage of Snare Backbeats Located in a Selected Sample of Rock Drumming Notations. 389 Appendix 1.2 Drumming Notation Legend. 392 Appendix 1.3 Drumming Notations. 393 The Beatles: Drive My Car . 393 The Beatles: Sgt. Pepper’s Lonely Hearts Club Band . 401 Jeff Beck: Shapes of Things . 404 Chuck Berry: Johnny B. Goode . 408 The Clash: Complete Control . 413 Cream: Deserted Cities of the Heart . 421 Donovan: Sunshine Superman . 430 The Doors: Hyacinth House . 436 Bob Dylan: All Along the Watchtower . 441 Jimi Hendrix Experience: Have You Ever Been (to Electric Ladyland) . 446 Led Zeppelin: Good Times, Bad Times . 451 Mahavishnu Orchestra: Eternity’s Breath, Part 1 . 455 Pink Floyd: Us and Them . 460 Appendix Two . 468 Appendix 2.1 Terms and Recordings Descriptors for Appendices Two and Three. ..
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