Exam 1 Flashcards
What is The 12-bar blues
o A pattern that is defined by its measure length, phrasing, lyrics and chord structure
o Used to build larger forms like simple verse-chorus or simple verse form
o Some examples: Shake, Rattle and Roll – Joe Turner – 12 bar blues in simple verse-chorus;
Rocket 88 – Jackie Brenston – 12 bar blues in simple verse form
What is The doo-wop progression
o Pattern that first became popular with early doo-wop groups but made a huge resurgence right at the end of the fifties
o Again, this is used to create larger forms
o Some examples: Come Go With Me – The Dell Vikings; Earth Angel – The Penguins – both are
in AABA with a reprise
Simple verse-chorus form
o A single pattern is used as the basis for both the verses and the choruses
o Can the Circle be Unbroken – The Carter Family
Simple verse form
o Song consists of only verses with no contrasting material that suggests a repeating chorus sections
o That’s All Right and Heartbreak Hotel - Elvis
Contrasting verse-chorus
o Verse section is distinctly different from the chorus
o Rock and Roll Music – Chuck Berry; That’ll Be the Day – Buddy Holly
AABA form
o Consists of verses (the “As”) and a contrasting bridge (the B) – can employ a full or partial reprise
o Hey Good Lookin’ – Hank Williams; Blueberry Hill – Fats Domino; All I Have to do is Dream – The Everly Brothers
Pop music audience and aim
➢ Directed mainly at the white affluent population – white middle and upper class
➢ Aimed primarily at adults – adults comprised the majority of the professionals (musicians, singers,
songwriters) and consumers – teens would listen to and accept their parents’ music
Characteristics of a Typical Pop (Tin Pan Alley) Song
➢ Lyrics were typically non-offensive, non-controversial and most often dealt with simple emotions
➢ Songs had a very straight, uncomplicated rhythm that emphasized the downbeat
➢ Rhythm was kept in the background of the musical texture
➢ Melodies were important – usually easy to remember; simple enough to whistle
➢ Tempos were moderate to slow – faster tunes were typically bouncy and cute, often with light, humorous lyrics
➢ Written by professional songwriters; recorded by professional singers accompanied by a professional orchestra and/or chorus
falsetto
sing notes higher than their normal range
what was country and western music called until the 30’s
hillbilly music
What were the origins of country and western before they came together
“Country” music centered primarily in the
southeast and Appalachia; “Western” music was centered in the Southwest and California – they kept their distinct regional styles until Nashville was established as the central location for this music – henceforth, it was called Country & Western
what instruments are used in country and western
Instrumentation included fiddle, banjo, mandolin, steel guitar, acoustic guitar, acoustic bass – NO
DRUMS!
Characteristics of country and western
➢ The beat is steady – pure country is based on a crisp, exact beat
➢ In a four-beat pattern, there is a “boom-chick” feel – this is called a two-beat bass
➢ Harmonically, songs are simpler than pop songs – harmonies are usually triadic
➢ Songs were generally not written down, but were passed down aurally and subjected to improvisation;
performers wrote their own songs – played their own instruments
➢ Lyrics often tell a story and are intended to express emotions of some sort; they are meant to be heard
above the accompaniment
➢ Vocals have a nasal tone quality and are delivered in either a deadpan style or one with such intensity to
give the impression that the singer is on the verge of tears
Song: Music, Music, Music*
Artist: Teresa Brewer
➢ Beat is definitely on the downbeat and beat 3
➢ Instrumental intro – piano and percussion; brass and winds enter near the end of the intro
➢ Straight-ahead rhythm; non-offensive lyrics; melody is most important
➢ Instrumental break is written out not improvised
Song: Cry*
Artist: Johnny Ray
➢ Begins with harmonized backup vocals – use of falsetto
➢ Piano, bells, guitar and drums in the background
➢ Solo vocals enter – much more declamatory and emotional vocal style
➢ Backup vocals and instruments sit in the back of the texture – vocals are most important
➢ Lyrics speak of heartbreak
Song: Too Young*
Artist: Nat King Cole
Genera: Pop
➢ One of the first songs directed to a new and upcoming demographic – the teenager
➢ Begins with strings followed by a piano solo; strings take the end of the intro
➢ Crooning vocal style – they take the forefront of the musical texture
➢ Piano and strings play fills – between vocal entrances
➢ Instrumental break closely follows the melody line
➢ Instruments include: piano, strings, (orchestra)
➢ Lyrics about relationship
Song: Blue Tango*
Artist: Leroy Anderson
Genera: Pop
➢ A hit instrumental (no vocals) and an example of the fascinations with exotic rhythms and dances
➢ Melody goes between strings and winds; drums provide an ostinato (highly repetitive riff), setting a
tango rhythm in motion
➢ Melody is taken by strings; winds play fills; rhythm remains constant
➢ Even here, melody is most important
Song: Doggie in the Window*
Artist: Patti Page
➢ Example of a “novelty song” – very cutesy; designed for laughs ➢ Piece is in 3/4 time – like a waltz
➢ Starts with strings and winds
➢ Harmonized vocals enter with the chorus
➢ Verses are sung solo; winds play fills
➢ Vocals are clear and in the forefront; instruments are relegated to an accompanying role
➢ Lyrics are innocent and cute
➢ Instruments include: strings and Winds
Song: Can the Circle Be Unbroken*
Artist: The Carter Family
Genera: Country
➢ Begins with guitar – boom-chick rhythm
➢ Vocals enter – nasal vocal sound
➢ Harmonized vocals in the chorus
➢ Lyrics are rooted in white gospel music
Song: Back in the Saddle Again*
Artist: Gene Autry
Genera: western and western swing
➢ Begins with fiddle, accordion, slide guitar and mandolin ➢ Nasal vocals enter – slide guitar supplies fills
➢ Fiddle takes the solo over accordion and slide guitar
➢ Lyrics tell a story
Song: New San Antonio Rose*
Artist: Bob Wills and his Texas Playboys
Genera: western and western swing
➢ Begins with mariachi-style trumpets – rounded out by saxes, piano and fiddles ➢ Boom-chick feel supplied by bass and guitar
➢ Vocal interjections state the song title
➢ Extended instrumental opening
➢ Solo vocals enter
Song: Hey, Good Lookin’ (FORMAL ANALYSIS)
Artist: Hank Williams
Genera: Country and Western
Begins with slide guitar solo over guitar and acoustic bass playing a boom-chick rhythm
AABA song from – 4/4 time signature
Other instruments include fiddle and acoustic bass, steel gatar, violin
Vocals enter – nasal vocal sound
Slide guitar and fiddle are the featured solo instruments
Song: Hillbilly Fever*
Artist: Little Jimmy Dickens
Genera: country and western
➢ Prototype for an upcoming style called rockabilly
➢ Starts with steel guitar solo accompanied by bass, fiddle and guitars ➢ Solo vocals enter and take precedence over the instrumentation
➢ Steel guitar plays fill at the end of the verse
➢ Chorus features harmonized vocals
What is Bluegrass
➢ Virtuosic instrumental aspects of the music overshadow the vocals
➢ This music was often used as theme music for TV and movies
Song: Blue Moon of Kentucky*
Artist: Bill Monroe and His Blue Grass Boys
Genera: blue grass
➢ Begins with fiddle soloing over mandolin and guitar
➢ Song is in 3/4 – a country waltz
➢ Vocals are nasal – lyrics are of heartbreak
➢ Mandolin takes the solo
Song: Crossroads*
Artist: Robert Johnson
Genera: rural blues
➢ Early example of the style that will influence later rhythm & blues
➢ Based on a slightly altered 12-bar blues
➢ Consists of just guitar and vocals – yet a driving rhythm is present
➢ Technique of call and response occurs between the vocals and guitar
what what rhythms and blues referred to as before the 40’s
race music
Rhythm and blues instruments
acoustic and electric guitar, acoustic stand-up bass, drums, sax, piano, harmonica
Characteristics of a Typical R&B Song
➢ Very rhythmic, emphasizing the second and fourth beat of each four-beat pattern – this is called a backbeat – drums play a larger role
➢ Quite frequently patterned around a musical scheme called a twelve-bar blues (or some variation of the pattern)
➢ Characterized by a very energetic stage show – vocals were shouted, forming the basis of the vocal style found in much of fifties mainstream rock
➢ Lyrics contained a certain amount of sexual suggestiveness
➢ Songs were often improvised – rarely written down
➢ Vocals and instruments were equally weighted – the instruments are more present
What did Ray Charles base his music on
gospel songs
Song: I’ve Got a Woman*
Artist: Ray Charles
Genera: Gospel Influenced Blues
➢ Starts with vocals – drums, piano, sax and horns enter ➢ Horns play fills at the end of the vocal line
➢ Strong emphasis on backbeat
➢ Vocals improvise over the instrumental accompaniment
Chess Records – Chicago Blues characteristics
➢ Founded in 1947 by white blues fans Phil and Leonard Chess
➢ Specialized in solo singers backed by small electric bands
➢ Rough-edged emotion, expressive vocals, unpolished production
➢ Virtuosic instrumental ability; adult-oriented lyrics
➢ Not meant to appeal to white middle-class tastes
Song: Hard Day Blues*
Artist: Muddy Waters
Genera: Chess Records- Chicago Blues
➢ Instrumentation includes electric guitar, bass, piano and drums
➢ This is a typical twelve-bar blues
➢ Semi-shouting vocal style – lyrics are clear
➢ Instrumental features the piano – there is a pronounced backbeat and a walking bass
➢ Instruments include: guitar, bass, piano, drums
Song: I’m a Man*
Artist: Bo Diddley
Genera: Chess Records- Chicago Blues
➢ Song is based on one chord – called a one-chord boogie
➢ Starts with a lick (riff) that is referred to as a “Bo Diddley”
➢ Instrumentation starts with guitar; harmonica and piano interject; drums and maracas maintain a
constant beat
➢ Vocals enter over drums; instruments provide fills – this is a call and response
➢ Lyrics are suggestive and egocentric
