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This article is about the music genre. For other uses, see sung over the four rst bars, its repetition over the next
Blues (disambiguation).
four, and then a longer concluding line over the last bars.
Blues is a genre[2] and musical form that originated Early blues frequently took the form of a loose narrative,
often relating troubles experienced within African American society.
Many blues elements, such as the call-and-response format and the use of blue notes, can be traced back to the
music of Africa. The origins of the blues are also closely
related to the religious music of the Afro-American community, the spirituals. The rst appearance of the blues
is often dated to after emancipation and, later, the development of juke joints. It is associated with the newly
acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th
century. The rst publication of blues sheet music was in
1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety
of styles and subgenres. Blues subgenres include country
blues, such as Delta and Piedmont, as well as urban blues
styles such as Chicago and West Coast blues. World War
II marked the transition from acoustic to electric blues
and the progressive opening of blues music to a wider
audience, especially white listeners. In the 1960s and
1970s, a hybrid form called blues rock evolved.
1 Denition
1.1 Etymology
The term may have come from the term blue devils,
meaning melancholy and sadness; an early use of the term
in this sense is found in George Colman's one-act farce
Blue Devils (1798).[4] Though the use of the phrase in
African-American music may be older, it has been attested to since 1912, when Hart Wand's "Dallas Blues"
became the rst copyrighted blues composition.[5][6] In
lyrics the phrase is often used to describe a depressed
mood.[7]
1.2 Lyrics
The lyrics of early traditional blues verses probably often consisted of a single line repeated four times. It
was only in the rst decades of the 20th century that the
most common current structure became standard: the socalled AAB pattern, consisting of a line sung over the
four rst bars, its repetition over the next four, and then a
DEFINITION
Eleggua, the orisha in charge of the crossroads.[16] However, the Christian inuence was far more obvious.[17]
Many seminal blues artists such as Charley Patton or
Skip James had several religious songs or spirituals in
their repertoires.[18] Reverend Gary Davis[19] and Blind
Willie Johnson[20] are examples of artists often categorized as blues musicians for their music, although their
Early blues frequently took the form of a loose narrative. lyrics clearly belong to the spirituals.
The singer voiced his or her personal woes in a world
of harsh reality: a lost love, the cruelty of police o1.3 Form
cers, oppression at the hands of white folk, [and] hard
[10]
times.
This melancholy has led to the suggestion of
The blues form is a cyclic musical form in which a rean Igbo origin for blues because of the reputation the
peating progression of chords mirrors the call and reIgbo had throughout plantations in the Americas for their
sponse scheme commonly found in African and Africanmelancholic music and outlook to life when they were
American music. During the rst decades of the 20th
enslaved.[11][12]
century blues music was not clearly dened in terms of
The lyrics often relate troubles experienced within a particular chord progression.[21] With the popularity
African American society. For instance Blind Lemon of early performers, such as Bessie Smith, use of the
Jeerson's Rising High Water Blues (1927) tells about twelve-bar blues spread across the music industry durthe Great Mississippi Flood of 1927:
ing the 1920s and 30s.[22] Other chord progressions, such
as 8-bar forms, are still considered blues; examples inBackwater rising, Southern peoples can't
clude "How Long Blues, "Trouble in Mind, and Big Bill
make no time
Broonzy's "Key to the Highway. There are also 16-bar
blues, as in Ray Charles's instrumental Sweet 16 Bars
I said, backwater rising, Southern peoples can't
and in Herbie Hancock's "Watermelon Man. Idiosynmake no time
cratic numbers of bars are also encountered occasionally,
And I can't get no hearing from that Memphis
as with the 9-bar progression in "Sitting on Top of the
girl of mine.
World" by Walter Vinson.
However, although the blues gained an association with The basic 12-bar lyric framework of a blues composition
misery and oppression, the lyrics could also be humorous is reected by a standard harmonic progression of 12 bars
in a 4/4 time signature. The blues chords associated to
and raunchy as well:[13]
a twelve-bar blues are typically a set of three dierent
chords played over a 12-bar scheme. They are labeled by
Rebecca, Rebecca, get your big legs o of me,
Roman numbers referring to the degrees of the progresRebecca, Rebecca, get your big legs o of me,
sion. For instance, for a blues in the key of C, C is the
It may be sending you baby, but its worrying
tonic chord (I) and F is the subdominant (IV).
the hell out of me.
The last chord is the dominant (V) turnaround, marking
the transition to the beginning of the next progression.
From Big Joe Turner's Rebecca,
The lyrics generally end on the last beat of the tenth bar
a compilation of traditional blues
or the rst beat of the 11th bar, and the nal two bars
lyrics
are given to the instrumentalist as a break; the harmony
of this two-bar break, the turnaround, can be extremely
Hokum blues celebrated both comedic lyrical content and
[14]
a boisterous, farcical performance style. Tampa Red's complex, sometimes consisting of single notes that defy
classic Tight Like That (1928) is a sly wordplay with analysis in terms of chords.
Much of the time, some or all of these chords are played
in the harmonic seventh (7th) form. The use of the harmonic seventh interval is characteristic of blues and is
popularly called the blues seven.[23] Blues seven chords
add to the harmonic chord a note with a frequency in a
7:4 ratio to the fundamental note. At a 7:4 ratio, it is not
close to any interval on the conventional Western diatonic
scale.[24] For convenience or by necessity it is often approximated by a minor seventh interval or a dominant
Author Ed Morales has claimed that Yoruba mythol- seventh chord.
ogy played a part in early blues, citing Robert John- In melody, blues is distinguished by the use of the
son's "Cross Road Blues" as a thinly veiled reference to attened third, fth and seventh of the associated major
the double meaning of being tight with someone coupled with a more salacious physical familiarity. Explicit
contents led to blues sometimes being called dirty blues.
Lyrical content of music became slightly simpler in post
war-blues which focused almost exclusively on relationship woes or sexual worries. Many lyrical themes that
frequently appeared in pre-war blues such as economic
depression, farming, devils, gambling, magic, oods and
dry periods were less common in post-war blues.[15]
2 History
A minor pentatonic scale; play
2.1 Origins
Main article: Origins of the blues
HISTORY
and rural blacks into a wide variety of styles and subgenres, with regional variations across the United States. Although blues (as it is now known) can be seen as a musical style based on both European harmonic structure and
the African call-and-response tradition that transformed
into an interplay of voice and guitar,[48][49] the blues
form itself bears no resemblance to the melodic styles
of the West African griots, and the inuences are faint
and tenuous.[50][51] Additionally, there are theories that
the four-beats-per-measure structure of the blues might
have its origins in the Native American tradition of pow
wow drumming.[52]
2.2
Pre-war blues
the blues as well as modern "country music" arose in and "The Memphis Blues" by W. C. Handy.[66]
the same regions during the 19th century in the southern
United States. Recorded blues and country can be found
from as far back as the 1920s, when the popular record industry developed and created marketing categories called
"race music" and "hillbilly music" to sell music by blacks
for blacks and by whites for whites, respectively. At the
time, there was no clear musical division between blues
and country, except for the ethnicity of the performer,
and even that was sometimes documented incorrectly by
record companies.[61][62]
Though musicologists can now attempt to dene the
blues narrowly in terms of certain chord structures and
lyric strategies thought to have originated in West Africa,
audiences originally heard the music in a far more general way: it was simply the music of the rural south, notably the Mississippi Delta. Black and white musicians
shared the same repertoire and thought of themselves as
"songsters" rather than blues musicians. The notion of
blues as a separate genre arose during the black migration from the countryside to urban areas in the 1920s and
the simultaneous development of the recording industry.
Blues became a code word for a record designed to sell
to black listeners.[63]
The origins of the blues are closely related to the religious
music of the Afro-American community, the spirituals.
The origins of spirituals go back much further than the
blues, usually dating back to the middle of the 18th century, when the slaves were Christianized and began to
sing and play Christian hymns, in particular those of
Isaac Watts, which were very popular.[64] Before the blues
gained its formal denition in terms of chord progressions, it was dened as the secular counterpart of the
spirituals. It was the low-down music played by the rural
Blacks.[65]
As the recording industry grew, country blues performers like Bo Carter, Jimmie Rodgers (country singer),
Blind Lemon Jeerson, Lonnie Johnson, Tampa Red and
Blind Blake became more popular in the African American community. Kentucky-born Sylvester Weaver was in
1923 the rst to record the slide guitar style, in which a
guitar is fretted with a knife blade or the sawed-o neck
HISTORY
Bessie Smith, an early blues singer, was known for her powerful
voice.
unsurpassed.[77] Urban male performers included popular black musicians of the era, such as Tampa Red, Big
Bill Broonzy and Leroy Carr. An important label of this
era was the chicagoean Bluebird label. Before WWII,
Tampa Red was sometimes referred to as the Guitar
Wizard. Carr accompanied himself on the piano with
Scrapper Blackwell on guitar, a format that continued
well into the 1950s with people such as Charles Brown,
and even Nat King Cole.[69]
Urban blues
City or urban blues styles were more codied and elaborate as a performer was no longer within their local,
immediate community and had to adapt to a larger,
more varied audiences aesthetic.[75] Classic female urban
and vaudeville blues singers were popular in the 1920s,
among them Mamie Smith, Gertrude Ma Rainey,
Bessie Smith, and Victoria Spivey. Mamie Smith, more
a vaudeville performer than a blues artist, was the rst
African-American to record a blues song in 1920; her
second record, Crazy Blues, sold 75,000 copies in its
rst month.[76]
Ma Rainey, the Mother of Blues, and Bessie Smith each
"[sang] around center tones, perhaps in order to project
her voice more easily to the back of a room. Smith would
"... sing a song in an unusual key, and her artistry in
bending and stretching notes with her beautiful, powerful contralto to accommodate her own interpretation was
2.3
1950s
2.3
1950s
HISTORY
Other blues artists, such as John Lee Hooker had inuences not directly related to the Chicago style. John Lee
Hookers blues is more personal, based on Hookers
deep rough voice accompanied by a single electric guitar. Though not directly inuenced by boogie woogie, his
groovy style is sometimes called guitar boogie. His
rst hit, "Boogie Chillen, reached #1 on the R&B charts
in 1949.[99]
By the late 1950s, the swamp blues genre developed near
Baton Rouge, with performers such as Lightnin' Slim,[100]
Slim Harpo,[101] Sam Myers and Jerry McCain around
the producer J. D. Jay Miller and the Excello label.
Strongly inuenced by Jimmy Reed, Swamp blues has a
slower pace and a simpler use of the harmonica than the
Chicago blues style performers such as Little Walter or
Muddy Waters. Songs from this genre include Scratch
my Back, Shes Tough and "I'm a King Bee. Alan Lomaxs recordings of Mississippi Fred McDowell would
eventually bring him wider attention on both the blues
and folk circuit, with McDowells droning style inuencing North Mississippi hill country blues musicians.[102]
2.4
10
3 INFLUENCE
inuenced by the British rock-blues movement. Major artists of the Texas style are Johnny Winter, Stevie
Ray Vaughan, The Fabulous Thunderbirds, and ZZ Top.
These artists all began their musical journey in the 1970s,
but they did not achieve major international success until
the next decade.[110]
2.5
Denise LaSalle
3 Inuence
3.1
3.1
Musical impact
11
Musical impact
12
long ("What'd I Say, Ray Charles). The 12-bar blues
structure can be found even in novelty pop songs, such as
Bob Dylan's "Obviously Five Believers" and Esther and
Abi Ofarim's "Cinderella Rockefella.
4 SEE ALSO
During the blues revival of the 1960s and '70s, acoustic blues artist Taj Mahal and legendary Texas bluesman Lightnin' Hopkins wrote and performed music that
gured prominently in the popularly and critically acclaimed lm Sounder (1972). The lm earned Mahal a
Grammy nomination for Best Original Score Written for
a Motion Picture and a BAFTA nomination.[126] Almost
30 years later, Mahal wrote blues for, and performed
a banjo composition, claw-hammer style, in the 2001
movie release Songcatcher, which focused on the story of
the preservation of the roots music of Appalachia.
4 See also
Blues dance
Blues Hall of Fame
Mississippi Blues Trail
Blues Wikipedia book
The music of Taj Mahal for the 1972 movie Sounder marked a
revival of interest in acoustic blues.
Like jazz, rock and roll, heavy metal music, hip hop music, reggae, rap, country music, and pop music, blues has
been accused of being the "devil's music and of inciting
violence and other poor behavior.[125] In the early 20th
century, the blues was considered disreputable, especially
as white audiences began listening to the blues during the
1920s.[67] In the early twentieth century, W.C. Handy was
the rst to popularize blues-inuenced music among nonblack Americans.
Lists:
List of blues festivals
List of blues musicians
List of blues standards
List of British blues musicians
List of lms based on blues music
List of train songs
13
General:
African American culture
20th-century music
Notes
[1] http://www.bbc.co.uk/schools/gcsebitesize/music/
popular_music/blues2.shtml
[23] Ellen Fullman, The Long String Instrument, MusicWorks, Issue #37 Fall 1987 (PDF).
14
[42] Philip V. Bohlman, Immigrant, folk, and regional music in the twentieth century, in The Cambridge History of
American Music, ed. David Nicholls, 1999, Cambridge
University Press, ISBN 978-0-521-45429-2, pg. 285
[43] Oliver, Paul (1984). Blues O the Record:Thirty Years of
Blues Commentary. New York: Da Capo Press. pp. 45
47. ISBN 978-0-306-80321-5.
[44] Lawrence W. Levine, Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom, Oxford University Press, 1977, ISBN 978-0-19502374-9, pg. 223
[45] Southern, pg. 333
[46] Garofalo, pg. 44
[47] Ferris, pg. 229
[48] Morales, pg. 276 Morales attributes this claim to John
Storm Roberts in Black Music of Two Worlds, beginning
his discussion with a quote from Roberts: There does not
seem to be the same African quality in blues forms as there
clearly is in much Caribbean music.
[49] Call and Response in Blues. How To Play Blues Guitar.
Retrieved August 11, 2008.
5 NOTES
[61] Garofalo, pgs. 4447 As marketing categories, designations like race and hillbilly intentionally separated artists
along racial lines and conveyed the impression that their
music came from mutually exclusive sources. Nothing
could have been further from the truth... In cultural terms,
blues and country were more equal than they were separate. Garofalo claims that artists were sometimes listed
in the wrong racial category in record company catalogues.
[62] Charles Wolfe in Nothing but the Blues, pgs. 233263
[63] Golding, Barrett. The Rise of the Country Blues. NPR.
Retrieved December 27, 2008.
[64] Mark A. Humphrey in Nothing but the blues, pg. 110
[65] Mark A. Humphrey in Nothing but the blues, pgs. 107149
[66] Garofalo, pg. 27; Garofalo cites Barlow in Handys sudden success demonstrated [the] commercial potential of
[the blues], which in turn made the genre attractive to the
Tin Pan Alley hacks, who wasted little time in turning out
a deluge of imitations. (parentheticals in Garofalo)
[67] Garofalo, pg. 27
[68] Kentuckiana Blues Society. Retrieved September 26,
2008.
15
[121] Peter van der Merwe (2004). Roots of the Classical: The
Popular Origins of Western Music. Oxford University
Press. p. 461. ISBN 978-0-19-816647-4.
[97] Blues. Encyclopedia of Chicago. Retrieved August 13,
2008.
[122] The Blues Inuence On Rock & Roll. Retrieved August
17, 2008.
[98] C. Michael Bailey (October 4, 2003). West Side Chicago
Blues. All about Jazz. Retrieved August 13, 2008.
[123] History of Rock and Roll. Zip-Country Homepage. Retrieved September 2, 2008.
[99] Lars Bjorn, Before Motown, 2001, University of Michigan
[96] Koroma, pg. 49
[125] SFGate
[102] Hill Country Blues.
September 13, 2011.
Msbluestrail.org.
Retrieved
Retrieved
6 References
[107] A Short Blues History. History of Rock. Retrieved August 14, 2008.
Bransford, Steve. Blues in the Lower Chattahoochee Valley Southern Spaces 2004
Clarke, Donald (1995). The Rise and Fall of Popular Music. St. Martins Press. ISBN 978-0-31211573-9.
[112] Mary Katherine Aldin, in Nothing but the blues, pg. 130
16
EXTERNAL LINKS
Ewen, David (1957). Panorama of American Popular Music. Prentice Hall. ISBN 978-0-13-6483601.
Garofalo, Reebee (1997). Rockin' Out: Popular Music in the USA. Allyn & Bacon. ISBN 978-0-20513703-9.
8 External links
Blues at DMOZ
The American Folklife Centers Online Collections
and Presentations
American Music: An almost comprehensive collection of historical blues recordings.
The Blues Radio Series
The Blue Shoe Project - Nationwide (U.S.) Blues
Education Programming
Southern, Eileen (1997). The Music of Black Americans. W. W. Norton & Company. ISBN 978-0393-03843-9.
The Music in Poetry Smithsonian Institution lesson plan on the blues, for teachers
Further reading
Brown, Luther. Inside Poor Monkeys, Southern
Spaces, June 22, 2006.
Dixon, Robert M.W., and John Godrich (1970).
Recording the Blues. London: Studio Vista. 85 p.,
amply ill. SBN 289-79829-9
Oakley, Giles (1976). The Devils Music: a History
of the Blues. London: BBC. p. 287. ISBN 978-0563-16012-0.
Keil, Charles (1991) [1966]. Urban Blues. Chicago,
IL: University of Chicago Press. pp. 255 + ix + 8pp
of plates. ISBN 978-0-226-42960-1.
Oliver, Paul (1998). The Story Of The Blues (new
ed.). Northeastern University Press. p. 212. ISBN
978-1-55553-355-7.
17
9.1
Text
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