1. AMERICAN BLUES TRADITIONS
Chapter 5

2. Many black musicians throughout the south were day laborers
Many black musicians throughout the south were day laborers. Very few were employed as musicians full time.
Some musicians were blind – music was the only way for them to make a living.

3. Songsters
Versatile, but poor, traveling folk musicians in the late 1800s – early 1900s
In their travels, searching for work, black musicians encountered a variety of audiences and had to maintain a diverse repertoire.
Played ballads, chants, spirituals, songs from minstrel tent shows, simple country songs.

4. There was a free interchange of folkways between poor blacks and whites, including music.
Blacks sang about legendary heroes and villains and notable events and deeds.
Many of these songs had a strophic form – a two line verse and a one line refrain. As in many call and response songs, the words of the verse changed while the words of the refrain remained the same.

5. Blues
In the 1900s – a new black musical form that borrowed from the spiritual, the field holler, the work song, and the three line ballad

6. Blues Ballad VS Blues
Consisted of a two-line verse and a one-line refrain
Three lines - opening statement, a repeat of that statement, and a consequent PUNCH LINE.
Usually, the last word of the last line rhymes with the last word of the first line.

7. Blues Sentiment State a condition or sentiment
The repetition of this line emphasizes the first line, creating dramatic tension by anticipation and delay of the punch line
Resolve the tension

8. “I’m gonna lay my head on some lonesome railroad line.” - I
“I’m gonna lay my head on some lonesome railroad line.” - IV
“And let that 5:15 train pacify my mind.” – V-I

9. Formally trained musicians like W. C
Formally trained musicians like W.C.Handy standardized this form into a set number of measures and a fixed harmonic progression.
Folk blues performers, however, were more flexible and did not stick to a set number of measures.

10. Blues Call and Respons The call is made by the voice.
The response is made by an instrument.
This creates a dialogue/converstaion between black vocalists and instrumentalists.

11. The Blues Performer
The performer draws from a common stock of stanzas and strings them together spur of the moment.

12. Emergence of the Blues
The 1890s is a good decade to cite for the emergence of the blues because of the increase in reports of its existence.

13. The 12-Bar Blues

14. “Dust My Broom” – Elmore James http://youtu.be/aKo80b-QfK0

15. Basic Blues Form
I – I – I – I – IV – IV – I – I – V – IV - I - I

16. EXAMPLES
Stevie Ray Vaughan – Pride and Joy
Stray Cats – Rock This Town
Led Zeppelin – Rock and Roll

17. CLASSWORK
Groups of 3-4
Write down 4 topics you would write about if you were a blues singer – 2 from during that period of time and 2 from now.
Write a Three Line Blues Stanza – statement, repeat of statement and resolution.
Make sure all names are on the paper.
Hand in the paper. 

18. HOMEWORK Find 2 examples of a 12-bar blues form in your music.
Post links to songs onto Google Classroom under the assignment by Tuesday 11:59pm.