Stylistic overview
Blues has many stylistic devices in order to make the song specific to that genre.
One of the main features of blues is the repeated 12-bar structure, which the only chords used are I IV V. Typically, it would start on the Tonic (I) chord, for four beats, then to the Subdominant (IV) chord for two bars, then back to the Tonic (1) chord for two bars, and then to the Dominant (V) chord for one bar, the Subdominant (IV) chord for one bar, and then to finish off going back to the Tonic (I) chord for the last two bars of the structure.
It also uses the blues scale, that you get by flattening the third and seventh of any major scale by a semitone. - The flattened notes are also called the 'blue note'
The songs usually have a three verse structure, and often the second line repeats the first. (ABA). This helps as the lyrics are sometimes improvised, so by repeating the second verse it gives the singer to think of the next verse to say.
The lyrics sung are also full of emotion, and are usually about the hard times the slaves are experiencing, the work they have to do, the feeling of loneliness, and the dreaming of a better and more secure life.
Many songs use a call and response, this is where the vocalist will sing a phrase and either the instrument or another vocalist will respond.
One of the main features of blues is the repeated 12-bar structure, which the only chords used are I IV V. Typically, it would start on the Tonic (I) chord, for four beats, then to the Subdominant (IV) chord for two bars, then back to the Tonic (1) chord for two bars, and then to the Dominant (V) chord for one bar, the Subdominant (IV) chord for one bar, and then to finish off going back to the Tonic (I) chord for the last two bars of the structure.
It also uses the blues scale, that you get by flattening the third and seventh of any major scale by a semitone. - The flattened notes are also called the 'blue note'
The songs usually have a three verse structure, and often the second line repeats the first. (ABA). This helps as the lyrics are sometimes improvised, so by repeating the second verse it gives the singer to think of the next verse to say.
The lyrics sung are also full of emotion, and are usually about the hard times the slaves are experiencing, the work they have to do, the feeling of loneliness, and the dreaming of a better and more secure life.
Many songs use a call and response, this is where the vocalist will sing a phrase and either the instrument or another vocalist will respond.
Harmonic Overview
Blues has it's own scale, this is called the blues scale. This scale is very similar to the minor pentatonic scale, although it has the addition of 1 more note. The blues scale is formed by flattening the third and seventh of any major scale by a semitone, these flattened notes can also be called the 'blue notes' and sometimes the fifth note is flattened too. These blue notes are often bended in african singing, and this expressed the slaves pain and emotions. The singers could slide up or down the a note, making it sound flatter. The second and sixth note of the scale are also left out. Take the C scale for example - C D E F G A B C. If this was to be turned into a blues scale it would be C Eb F Gb G Bb C
Most blues chord progressions follow the I - IV - V (I-Tonic IV-Subdominant V-Dominant) pattern. Typically, this means that the chord progression will start on the Tonic of the scale, then to the Subdominant, back to the Tonic and then to the Dominant, to the Subdominant and back to the Tonic. From here you could either stay on the Tonic, or use the Dominant chord as a turnaround. A turnaround chord is use of the Dominant chord (V), by putting it in the last measure before repeating the chord progression. This chord is going to result back to the Tonic, giving the song more interest and helping it move to another section of the song. So, if you put that together, the root chord will play for 4 bars, the 4th chord will play for 2 bars and the 5th chord will play for 2 bars as well.
If I show you an example of this in a C scale for instance.
A C scale goes like this - C D E F G A B C. By using the I IV V chord progression, you would play the C as the Tonic (I), the F as the Subdominant (IV) and the G as the Dominant (V). If you were to apply the blues scale to the Tonic would be C, the Subdominant would be Gb and the Dominant would be G.
Below is the C blues scale played on a piano.
Most blues chord progressions follow the I - IV - V (I-Tonic IV-Subdominant V-Dominant) pattern. Typically, this means that the chord progression will start on the Tonic of the scale, then to the Subdominant, back to the Tonic and then to the Dominant, to the Subdominant and back to the Tonic. From here you could either stay on the Tonic, or use the Dominant chord as a turnaround. A turnaround chord is use of the Dominant chord (V), by putting it in the last measure before repeating the chord progression. This chord is going to result back to the Tonic, giving the song more interest and helping it move to another section of the song. So, if you put that together, the root chord will play for 4 bars, the 4th chord will play for 2 bars and the 5th chord will play for 2 bars as well.
If I show you an example of this in a C scale for instance.
A C scale goes like this - C D E F G A B C. By using the I IV V chord progression, you would play the C as the Tonic (I), the F as the Subdominant (IV) and the G as the Dominant (V). If you were to apply the blues scale to the Tonic would be C, the Subdominant would be Gb and the Dominant would be G.
Below is the C blues scale played on a piano.
01_c-blues-scale-on-treble-clef.mp3.mp3 | |
File Size: | 70 kb |
File Type: | mp3 |
Chords are often embellished in order to make them sound more bluesy and to add more colour to the sound of the chord. This can be achieved by adding a seventh note to the chord. So for instance, if you take the Tonic of C, it would become a C7 chord. The 7th note derives from the blues scale as it is a blue note (flattened note) in the scale.
Rhythmic Overview
Blues melodies often have swinging and offbeat rhythms. Normal straight rhythms split the beats up into two halves, so you would have for example two semiquavers. In blues music to give the more swingy feel, instead of having two semiquavers, they would make it more swing by having a crotchet, followed by a semi-quaver, tied together by a triplet. By making the first note longer it makes the music have more of a swingy feel.
Syncopation is used a lot in the rhythm of Blues music. Syncopation is where you have varying rhythms that come together and sound unexpected to create an off-beat sound.
Call and response is a prominent feature of blues music. This is where the vocalist will sing a phrase and either the instrument or another vocalist will respond. An example of this being used in this genre is Mannish Boy by Muddy Waters, which is presented below.
Syncopation is used a lot in the rhythm of Blues music. Syncopation is where you have varying rhythms that come together and sound unexpected to create an off-beat sound.
Call and response is a prominent feature of blues music. This is where the vocalist will sing a phrase and either the instrument or another vocalist will respond. An example of this being used in this genre is Mannish Boy by Muddy Waters, which is presented below.
structure Overview
A key part of the structure of blues music is the twelve-bad Blues repeated structure. Most blues chord progressions follow the I - IV - V (I-Tonic IV-Subdominant V-Dominant) pattern. Typically, this means that the chord progression will start on the Tonic of the scale, then to the Subdominant, back to the Tonic and then to the Dominant, to the Subdominant and back to the Tonic. From here you could either stay on the Tonic, or use the Dominant chord as a turnaround. A turnaround chord is use of the Dominant chord (V), by putting it in the last measure before repeating the chord progression. This chord is going to result back to the Tonic, giving the song more interest and helping it move to another section of the song. So, if you put that together, the root chord will play for 4 bars, the 4th chord will play for 2 bars and the 5th chord will play for 2 bars as well.
Case study
T-Bone Walker - They Call It Stormy Monday
- This song has a ABAB Structure to the vocals repetition, they don't really vary melodically and they use the repetition of the line 'They call it stormy Monday' in the first verse of the song, which emphasises the main topic of the song.
- There are short instrumentals after each line, this acts as sort of like a call and response, but also gives time for singer to think of new lyrics, if he's improvising. The call and response is a key stylistic feature to blues music.
- 12/8 time signature is used, which is different to the usual 4/4 time signature, but presents a different feel to the music. - key of G
- The use of the 12 bar blues form using the standard I - IV - V chord progression, is used in this song, which is key to blues music and makes it true to the genre.
- In the song there's a wide use of the 9th and 7th chord extensions. These are used frequently in blues music as it makes it sound more interesting and less repetitive, since the structure doesn't show much variety.
- Guitar solo based on the 12 bar form at mins
- Lyrics about pain, hardship, although life improves by Wednesday which is a metaphor for payday. This is a key topic to blues music at the time.