Acoustic Blues Guitar Teacher West End 4810 Queensland
From its source in the South, the blues’ simple but expressive forms had become by the 1960s among the most important influences on the growth of music that is popular throughout America.
Although instrumental accompaniment is almost worldwide in the blues, the blues is essentially a a type that is vocal. Blues songs are lyrical rather than narrative; blues vocalists are expressing feelings instead of telling stories. The emotion expressed is normally one of melancholy or sadness, often due to problems in love.
To express this musically, blues performers use vocal techniques such as melisma (prolonging just one syllable across several pitches), rhythmic techniques including syncopation, and instrumental techniques such as “choking” or bending guitar strings on the neck or using a metal slide or bottleneck to the guitar strings to create a whining, voice-like sound.
As a musical style, the blues is characterized by expressive “microtonal” pitch inflections (blue notes), a three-line textual stanza of the form AAB, and a 12-measure form. Typically the first two and a half measures of each line are given to a half, the last measure and singing comprising an instrumental “break” that complements the vocal line, answers, or repeats. In terms of functional (i.e., conventional European) harmony, the most straightforward blues harmonic progression is described as follows (I, IV, and V refer respectively to the first or tonic, fourth or subdominant, and fifth or dominant notes of the scale):
Acoustic Blues Guitar Teacher West End 4810 Queensland.
African influences are clear in the blues tonality, the call and response pattern of the falsetto break in the vocal style, the repeated refrain construction of the blues stanza, and the imitation of vocal idioms by instruments, particularly the guitar and harmonica.
The origins of the blues are poorly recorded. It was influenced by work songs and field hollers, minstrel show music, ragtime, church music, and the folk and popular music of the white citizenry. Southern black men, most of whom came from the milieu of agricultural workers derived from and largely played blues.
The first references to blues date back to the 1890s and early 1900s. In 1912 black bandleader W.C. Handy’s composition “Memphis Blues” was published. It became very popular, and thereafter many other Tin Pan Alley tunes entitled blues began to appear.
Jefferson, Blind Lemon [Credit: Archive Photographs]The rural blues grown in Georgia, three principal regions and the Carolinas, Texas, and Mississippi. The blues of the Carolinas and Georgia is noted for its clarity of enunciation and regularity of beat. Affected by white and ragtime folk music, it’s more melodic than the Texas and Mississippi styles. Blind Willie McTell and Blind Boy Fuller were representative of this style.
High, sharp singing accompanied by supple guitar lines that consist generally of single characterizes the Texas blues -string picked arpeggios rather than strummed chords. Blind Lemon Jefferson was the most powerful Texas bluesman. Mississippi Delta blues has been the most powerful and is the most extreme of the three styles. Vocally, it truly is the most speech-like, and the guitar accompaniment is percussive and rhythmic; a slide or bottleneck is often used. The Mississippi style is represented by Charley Patton, Eddie (“Son”) House, and Robert Johnson, among others.
Acoustic Blues Guitar Teacher Queensland 4810 West End.
Rainey, Ma [Credit: Archive Photos]The first blues records were made in the 1920s by black women like Bessie Smith, Ma Rainey, Ida Cox, and Mamie Smith. These performers were chiefly stage singers backed by jazz bands; their style is known as classic blues.
As millions of blacks left the South for the cities of the North the World Wars and the Great Depression caused the geographic dispersal of the blues. The blues became adjusted to the more sophisticated urban environment. The amplified harmonica and the electric guitar created a driving sound of emotional and rhythmic intensity that was great.
Hooker, John Lee [Credit:
It was Chicago, nonetheless, that played the greatest role in the growth of urban blues. In the 1920s and ’30s Memphis Minnie, Tampa Red, Big Bill Broonzy, and John Lee (“Sonny Boy”) Williamson were popular Chicago performers.
Many other musical styles have been affected by the blues. Blues and jazz are closely related; blues elements were employed by such seminal jazzmen as Jelly Roll Morton and Louis Armstrong within their music. Rhythm and soul music and blues also show shapes and clear blues tonalities. The blues have had their biggest influence on rock music.
Rock singers for example Elvis Presley often used blues material. British rock musicians in the 1960s, John Mayall, Eric Clapton, and especially the Rolling Stones, were powerfully influenced by the blues, as were such American rock musicians as Paul Butterfield, Mike Bloomfield, and the Allman Brothers Band.
Acoustic Blues Guitar Teacher Queensland 4810 West End