Delta Blues Dave O’Brien Boston University MU757

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Presentation transcript:

Delta Blues Dave O’Brien Boston University MU757 Curriculum for High School Classroom

Development of Delta Blues Mississippi Delta considered to be the birthplace of the Blues. Many slaves carried original songs from their homeland to America. Field Hollers and Songs are popular means of communication. PBS - The Blues. “Blues Road Trip.” PBS. http://www.pbs.org/theblues/roadtrip/mapmain.html (accessed August 10, 2010).

Development of Delta Blues Hollers, Chants, and Work songs were not allowed by plantation owners. Why do you think this is so? Slaves would utilize their own voices and clapped percussion. These original methods became the basis for the Delta Blues style. PBS - The Blues. “Blues Road Trip.” PBS. http://www.pbs.org/theblues/roadtrip/mapmain.html (accessed August 10, 2010).

Development of Delta Blues Slaves and freed slaves become part of American culture and society. Church is a regular Sunday activity. White churchgoers sing more hymns while Black southerners use passionate vocals, clapping, stomping, and call & response as ways of praise. By the 1870s the Spiritual is considered to be important part of music in the South and influences the Blues styles to come. PBS - The Blues. “Blues Road Trip.” PBS. http://www.pbs.org/theblues/roadtrip/mapmain.html (accessed August 10, 2010).

Development of Delta Blues Known as the “Father of the Blues.” W.C. Handy discovers the “Blues” in 1903. “Memphis Blues” is published in 1912 and is the first composition to contain “Blues” in the title. This led to the Blues being a viable musical form, and gave the Blues validity in society. Blues was now a mainstream musical form and changed the face of American music. PBS - The Blues. “Blues Road Trip.” PBS. http://www.pbs.org/theblues/roadtrip/mapmain.html (accessed August 10, 2010).

Development of Delta Blues Juke Joints were the only places for local entertainment for rural Blacks. Blues musicians would travel from one Juke Joint to the next in a very nomadic lifestyle. PBS - The Blues. “Blues Road Trip.” PBS. http://www.pbs.org/theblues/roadtrip/mapmain.html (accessed August 10, 2010).

Development of Delta Blues Songs and lyrics were passed down orally. Alan and John Lomax created the first recordings of Blues music in the early 1940s. Delta Blues musicians would eventually head up North to Chicago and Detroit to record more often. Eventually, they would return to the Delta to perform in their hometown Juke Joints and events.

The Delta Blues Style Most artists work in a solo format by singing and playing guitar or harmonica. “Bottlenecking” is a style of Delta Blues guitar that can be heard as a stylistic trait. Can you hear the “Delta Blues?”

Review In which state is the Delta located? The Blues took influence from what form of African communications? What is a Black “hymn” known as? Who is the “Father of the Blues?” Please explain what a Juke Joint is. Why were they important in the South? Who created the first recordings of the Delta Blues? How would YOU describe the Delta Blues sound? What African innovations started Blues? What European innovations started the Blues? Please explain.

Charley Patton 1891-1934 Moved to Dockery Plantation in 1912 and performed with Tommy Johnson, Willie Brown, and other Blues performers who exchanged songs and performance techniques. Known as famous musician and performer and as a “jokester.” Paul Oliver. "Patton, Charley." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy.bu.edu/subscriber/article/grove/music/21093 (accessed August 10, 2010).

Charley Patton His influence grew beyond the Mississippi Delta and into other parts of the country. “He had a rasping voice of the ‘heavy’ kind admired by many other singers.” Most themes of his songs were autobiographical. His styles of performance led the way for Blues performers to follow. Paul Oliver. "Patton, Charley." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy.bu.edu/subscriber/article/grove/music/21093 (accessed August 10, 2010).

Son House 1902-1988 Involved with church as a youngster and eventually became a preacher. Worked at a steel plant in St. Louis at age 20. Returned to Mississippi and performed with Charley Patton and Willie Brown. Paul Oliver. "House, Son." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy.bu.edu/subscriber/article/grove/music/52323 (accessed August 10, 2010).

Son House Two influential recordings: Preachin’ The Blues Dry Spell Blues Both feature repetitive phrases on the guitar played with a Bottleneck slide. “He had a powerful voice, and his use of hummed phrases was probably a result of his experiences in church.” 1942 – House moves to Rochester and quits music for awhile. Rediscovered 20 years later, and has a resurgence in interest and popularity. Paul Oliver. "House, Son." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy.bu.edu/subscriber/article/grove/music/52323 (accessed August 10, 2010).

Robert Johnson 1911-1938 Traveled from plantation to plantation with his mother as a boy playing a Jew’s harp and harmonica. Started guitar in 1927. In 1929, he was married but wife died during childbirth soon after. Paul Oliver. "Johnson, Robert (iii)." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy.bu.edu/subscriber/article/grove/music/14416 (accessed August 10, 2010).

Robert Johnson Led a “wild” adult life and was nomadic throughout the Delta region. His famous recordings were made in both San Antonio and Dallas, TX. These recordings “characterize Mississippi blues of the mid-1930s and form the link between this tradition and modern Chicago blues.” Shows influence from Son House and other earlier Delta blues musicians. Paul Oliver. "Johnson, Robert (iii)." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy.bu.edu/subscriber/article/grove/music/14416 (accessed August 10, 2010).

Robert Johnson “Johnson’s voice was taut and often strained, and he sometimes used falsetto effectively.” “His guitar playing combined dramatic rhythms with agitated whining effects produced by a bottleneck slide.” Johnson’s influence extended not only to the Blues community, but to other popular styles to follow: Rock n’ Roll, R&B, etc. Rediscovered mid to late 20th century and sold 500,000 copies of his re-released recordings in 1990. Paul Oliver. "Johnson, Robert (iii)." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy.bu.edu/subscriber/article/grove/music/14416 (accessed August 10, 2010).