Easy Blues Guitar Songs Learn Some Clapton & BB King Songs
Easy blues guitar songs learn as many different artists have, is a music genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19 th century. The genre developed from roots in African musical traditions, African-American work ballads, spirituals, and the folk music of white Americans of European heritage. Blues incorporated spirituals, work sungs, field hollers, hollers, chants, and rhymed simple narrative ballads. The blues sort, ubiquitous in jazz, rhythm and blues and rock and roll, is characterized by the call-and-response pattern, the blues scale and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes( or “worried notes ” ), usually thirds or fifths flattened in pitching, are also an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive consequence known as the groove.
Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues poems consisted of a single line repeated four times. It was merely in the first decades of the 20 th century that the more common current structure became standard: the AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, and then a longer concluding line over the last bars. Early blues often took the form of a loose narrative, often pertaining the racial discrimination and other challenges experienced by African-Americans.
Many elements, such as the call-and-response format and the use of blue notes, can be traced to the music of Africa. The origins of the blues are also closely related to the religion music of the Afro-American community, the spirituals. The first appearance of the blues is often dated to after the ending of slavery and, afterwards, 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 sunrise of the 20 th century. The first 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 blues and Piedmont blues, as well as urban blues styles such as Chicago blues and Western 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 1960 s and 1970 s, a hybrid form called blues boulder developed, which blended blues styles with rock music.
The term blues may have come from “blue devils “, entailing melancholy and sadness; an early employ of the term in this sense is in George Colman’s one-act comedy Blue devil( 1798 ). The phrase blue devils may also have been derived from Britain in the 1600 s, when the word referred to the “intense visual hallucinations that can accompany severe alcohol withdrawal “. As day went on, the phrase lost the including references to demons, and “it came to entailed a state of ferment or depression .” By the 1800 s in the United States, the word blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which proscribes the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, when Hart Wand’s “Dallas Blues ” became the first copyrighted blues composition. In lyrics the phrase is often used to describe a depressed mood. Some sources state that the term blues is related to “blue notes “, the flatted, often microtonal notes used in blues, but the Oxford English Dictionary claims that the word blues came first and led to the naming of “blue notes “.
American blues singer Ma Rainey( 1886-1939 ), the “Mother of the Blues ”
The lyrics of early traditional blues verses probably often consisted of a single line repeated four times. It was merely in the first decades of the 20 th century that the more common current structure became standard: the so-called AAB pattern, consisting of a line sing over the four first bars, its repeating over the coming four, and then a longer concluding line over the last bars. Two of the first published blues anthems, “Dallas Blues “( 1912) and “Saint Louis Blues “( 1914 ), were 12 -bar blues with the AAB lyric structure. W. C. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times. The lines are often sung following a pattern closer to rhythmic talk than to a melody.
Early blues frequently took the form of a loose narrative. African-American vocalists voiced his or her “personal woes in a world of harsh reality: a lost love, the brutality of police officers, persecution at the hands of white folk, hard times “. This melancholy has led to the suggestion of an Igbo origin for blues because of the reputation the Igbo had throughout plantations in the Americas for their melancholic music and outlook on life when they were enslaved.
The lyrics often pertain difficulties experienced within African American society. For instance Blind Lemon Jefferson’s “Rising High Water Blues “( 1927) tells of the Great Mississippi Flood of 1927 😛 TAGEND “Backwater rising, Southern people can’t stimulate no time
I said, backwater rising, Southern people can’t build no time
And I can’t get no hearing from that Memphis girl of mine .”
Although the blues gained an association with sadnes and oppression, the lyrics could also be humorous and raunchy 😛 TAGEND
“Rebecca, Rebecca, get your big legs off of me,
Rebecca, Rebecca, get your big legs off of me,
It may be sending you baby, but it’s fretting the hell out of me .”
From Big Joe Turner’s “Rebecca “, a compilation of traditional blues lyrics
Hokum blues celebrated both comedic lyrical content and a boisterous, farcical performance style. Tampa Red’s classic “Tight Like That “( 1928) is a sly wordplay with the double meaning of being “tight ” with someone coupled with a more salacious physical familiarity. Blues sungs with sexually explicit lyrics were known as dirty blues. The lyrical content became somewhat simpler in postwar blues, which tended to focus on relationship woes or sexual frets. Lyrical topics that frequently appeared in prewar blues, such as economic depression, agriculture, demons, gambling, magical, inundates and drought, were less common in postwar blues.
The writer Ed Morales claimed that Yoruba mythology played a part in early blues, quoting Robert Johnson’s “Cross Road Blues ” as a “thinly veiled including references to Eleggua, the orisha in charge of the crossroads “. However, the Christian influence was far more obvious. The repertoires of many seminal blues artists, such as Charley Patton and Skip James, included religious songs or spirituals. Reverend Gary Davis and Blind Willie Johnson are examples of artists often categorized as blues musicians for their music, although their lyrics clearly belong to spirituals.
The blues form is a cyclic musical kind in which a recurring progression of chords mirrors the call and reply strategy commonly may be in African and African-American music. During the first decades of the 20 th century blues music was not clearly defined in terms of a specific chord progression. With the popularity of early performers, such as Bessie Smith, utilize of the twelve-bar blues spread across the music industry during the course of its 1920 s and 30 s. Other chord progressions, such as 8-bar sorts, are still held blues; instances include “How Long Blues “, “Trouble in Mind “, and Big Bill Broonzy’s “Key to the Highway “. There are also 16 -bar blues, such as Ray Charles’s instrumental “Sweet 16 Bars ” and Herbie Hancock’s “Watermelon Man “. Idiosyncratic numbers of bars are occasionally use, such as the 9-bar progression in “Sitting on Top of the World “, by Walter Vinson.
Chords played over a 12 -bar scheme: Chords for a blues in C :
I I or IV I I7
IV IV I I7
V V or IV I I or V
C C or F C C7
F F C C7
G G or F C C or G
The basic 12 -bar lyric framework of a blues composition is reflected by a standard harmonic progression of 12 bars in a 4/4 time signature. The blues chords associated to a twelve-bar blues are typically a set of three different chords played over a 12 -bar scheme. They are labeled by Roman numbers referring to the degrees of the progression. For instance, for a blues in the key of C, C is the tonic chord( I) and F is the subdominant( IV ).
The last chord is the dominant( V) turnaround, marking the transition to the beginning of the next progression. The lyrics generally end on the last beat of the 10th bar or the first beat of the 11 th bar, and the final two bars are given to the instrumentalist as a breach; the harmony of this two-bar breaking, the turnaround, can be extremely complex, sometimes consisting of single notes that defy analysis in terms of chords.
Much of the time, some or all of these chords are played in the harmonic seventh( 7th) form. The employ of the harmonic seventh interval is characteristic of blues and is popularly called the “blues seven “. 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, “its not” close to any interval on the conventional Western diatonic scale. For convenience or by necessity it is often approximated by a minor seventh interval or a dominant seventh chord.
A minor pentatonic scale; About this sound play( help* info)
In melody, blues is distinguished by the use of the flattened third, fifth and seventh of the related major scale. These specialized notes are called the blue or bent notes. These scale tones may replace the natural scale tones, or they may be added to the scale, as in the case of the minor blues scale, in which the flattened third replaces the natural third, the flattened seventh replaces the natural seventh and the flattened fifth is added between the natural fourth and natural fifth. While the 12 -bar harmonic progression had been intermittently used for centuries, the revolutionary facet of blues was the frequent use of the flattened third, flattened seventh, and even flattened fifth in the tune, along with crushing–playing immediately adjacent notes at the same day( i.e ., minor second )– and sliding, similar to employing grace notes. The blue notes allow for key moments of expression during the course of its cadences, melodies, and embellishments of the blues.
Blues shuffles or walking bass reinforce the trance-like rhythm and call-and-response, and they form a repetitive impact called a groove. Characteristic of the blues since its Afro-American origins, the shuffles played a central role in swing music. The simplest shuffles, which were the clearest signature of the R& B wave that started in the mid-1 940 s, were a three-note riff on the bass strings of the guitar. When this riff was played over the bass and the drums, the groove “feel ” was created. Shuffle rhythm is often vocalized as “dow, da dow, da dow, da ” or “dump, da dump, da dump, da “: it consists of uneven, or “swung “, eighth notes. On a guitar this may be played as a simple steady bass or it may add to that stepwise quarter note motion from the fifth to the sixth of the chord and back.
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