Musc 200 1st Edition Lecture 9 Outline of Last Lecture I. Jimmie Rogers (cont.)II. Country Developments a. Moviesb. Honky TonkIII. TPA in the 1940sa. Big Band Swingb. Big Band post WWIIc. Importance of BB musicIV. Introduction to MutationsOutline of Current Lecture V. Cultural changes leading to Rhythm and BluesVI. Changes in the Music IndustryVII.New Technological DevelopmentsVIII. Styles of Rhythm and Bluesa. Junk Bluesb. Guitar orientated electric bluesCurrent LectureCultural changes leading to Rhythm and Blues- Many African Americans were moving from rural areas to cities- Post WWII, many had extra income and spent it on music- WWII was viewed as the fight for freedomo Many African Americans fought and sacrificed a lot for this fight for freedomo Fighting in the war meant they went to different countries and could more easily see how terribly they were treated in the U.S.o In other countries, they weren’t treated as second classo Going home to the U.S., they could see the contradictions of fighting for freedom but being subject to discrimination and segregationo Renewed dissatisfaction with racism, which had an impact on musico African Americans didn’t identify with the Big Bands and wanted something more urban,modern, and danceableThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute. Rhythm and Blues emerged with influences from the big band’s rhythm section but sounding unique to the African American cultureChanges in the Music Industry- 1939: radio resented ASCAP; records were the most powerful force and got along with ASCAP- 1939: National Association of Broadcasters created BMI (Broadcast Music International)o BMI: royalty rights collection agency Not affiliated with a record label Signed artists that ASCAP didn’t want (primarily African American music and country) For 10 months in 1940, radio boycotted ASCAP songs which allowed BMI artists to make it on the radio like never beforeNew Technological Developments- New reel to reel tape recorders were much cheaper and had a much higher sound quality- Transistors – small and reliable amplifiers that produced little heat (unlike the previous vacuum tubes)- LPs – black vinyl, 33 revolutions/minute, 20 minutes/side; strong, light, and cheap to ship- New technology made it easier for small businesses to make, sell, and distribute recordingso Emergence of local record labelso 1950s: could create a record label with fairly inexpensive equipmento Music industry began to become more independent rather than centered on the TPA publishing houses- Local labels signed artists in the town to serve the local marketo Gave the opportunity for rhythm and blues artists to be recorded- Television emerged around the early 50s and was originally very expensive o Began to take over the market for radioo Demolished radio dramas, comedies, soap operas, and other radio programs Radio became more news and music focused Radio stopped paying a lot for national feeds running on wires from NYC and other major cities and instead began to play records from local artistsStyles of Rhythm and Blues- These 4 styles are divided either by tendencies (not a specific style/genre) or a genre- 4 styles: Jump Blues, Guitar Orientated Electric Blues, Chicago Blues, Gospel Influenced Rhythm and Blues1. Jump Blues – most significant o Post war blues aesthetico Condensed big band – kept the rhythm section but with only one or two instruments in the brass and reed sections Gave a modern and new vibeo Drums were central and driving Back beat: 2nd and 4th beats that were emphasized on the snare drumso Took elements from Boogie Woogie blues Bass lines: left hand was played on the bass Melody: right hand can be heard behind the vocalso Drew on older Blues traditions and big band to create a new urban soundListening: “Choo Choo Ch Boogie” by Louis Jordan and his Tympany Five- Instrumentationo Rhythm section is the heart Bass walking lines (one note per beat) Piano – chords Drums – shuffle rhythm (emphasized 2nd and 4th backbeats), rhythmic driveo Couple of reed (saxophone) and brass instruments - Verse/Chorus form where the verse has the 12 bar blues chord progression but the chorus is different- The piano solo is in 12 bar blues- Lyrics: intense rhymes using language common with African Americans creating a strong African American identity- Saxophone soloo Overblown: blow hard against the reeds to create a buzzy, noisy, and bright sound More urban and modern than the smooth TPAo Solos built around riffs Riff: little rhythmic phrase giving interest, energy, and excitement- Can vary and change within the song Rhythmic and riff-based melodiesListening: “Wild Wild Young Men” by Ruth Brown- Backbeat accents- No gliding – it’s strong and aggressive- Background sounds are derived from Boogie Woogie bass lines- Not exactly in 12 bar blues, but similar- Saxophone solo: overblown, punchy, and drivingListening: “Shake, Rattle, and Roll” by Joe Turner- Bigger backbeat and overblown sax- Sexist lyrics, but this wasn’t unique to this genre. Sexism and traditional gender roles were seen in TPA and basically all American pop music as well2. Guitar Orientated Electric Blues- Electric guitars are more delicate and gentle than acoustic guitars; acoustic guitars take more physical strength to play but electricity amplifies the sound of electric guitars so you don’t have to strum really hard- This allowed for long and flowing lines that linked notes together- 1950s: electric guitar placed in the center of the ensemble- T Bone Walker set the stage for the sound of rhythm and bluesListening: “Strollin’ with Bones” by T Bone Walker- Reed and bass in the background- Electric guitar at center- Rhythm – piano and rumsListening: “Early Every Morning” by B.B. King- King redefined what the electric guitar could sound like- Long flowing phrases, weaving the lines together- Plays the entire chorus of 12 bar blues without a pause- Backbeat on 2nd and 4th- Short 1st phrase, longer 2nd phrase, then even longer- Expect the phrase to end, but then he would link and add notes for fluid phrasing with smooth bends, giving a virtuoso