PAS 214 Notes: March 3, 2015Ragtime and The BluesRagtimeI. RagtimeA. Syncopated piano style that evolved from banjo stylesB. Initially for Solo Piano (later brass bands/orchestras)C. First financially successful black musicD. Entertainment in BrothelsE. Preserved on piano rollsF. First copyright 1883 (Turpin-Harlem Rag)G. First publ. 1897 (Krell-Mississippi Rag)H. Centered in Midwest (St. Louis, Sedalia, Memphis) and N.O.I. John Start—major publisherII. Ragtime StylesA. Folk (Jig Piano)1. Improvised2. Used folk songs for material3. Used in honky-tonks, juke joints, saloons4. Simple harmonic language5. Variable formB. Commercial1. Notated/Published2. Symmetrical phrases3. Embellished Harmony4. Distinct sections often in different keys/modesC. Classic 1. Highly sophisticated2. Intricate, varied motives with more melodic development3. More textural variety4. More counterpoint5. Chromatic harmony, modulations6. Unique chord progressionsIII. CharacteristicsA. Fully composed/notatedB. 2/4 or 4/4 meterC. Rigid tempoD. Left hand—boom chuck (alternation of bass note and chords)E. Right hand—syncopated 16th note melodyF. Recurring syncopation patternsG. Standardized form similar to marches—AABB(A)CCDD with each section 16 barsIV. PerformersA. Scott JoplinB. James ScottC. Tom TurpinPAS 214 Notes: March 3, 2015D. Joseph Lamb (white)E. William Krell (white)F. Eubie BlakeG. Jelly Roll Morton 1. Real name: Ferdinand2. Creole (French/Caribbean)3. Known for transitioning ragtime to jazz (improvisation)The BluesI. CharacteristicsA. Visceral, earthyB. Spontaneous, often improvised on spotC. Personal expressionD. Commentary on real-lifeE. Express contradictions of black lifeF. Artistic liberation from immediate troublesG. Affirm secular black existenceII. TopicsA. Urban lifeB. Freedom (from Jim Crow laws)C. Alcohol and DrugsD. Jobs/UnemploymentE. LoveF. SexualityG. JealousyH. TravelIII. Lyric DevicesA. Personalized B. Use of metaphor/innuendoC. SymbolismD. Use of double entendre IV. FormA. AAB lyric/melodic formB. One complete ideaC. Call and Response (sing play guitar)D. 12 bar formE. Three chord progression (I, IV, V)F. Use of blues scale and blue notesV. StylesA. Country Blues—solo performers self accompanied on guitar1. Mississippi Delta: sparse style using bottle neck guitar technique2. Carolina (AKA Piedmont): elaborate finger picking style3. Texas: Swing oriented style using jazz improvisation and single string accompaniment and licksB. Venues1. Jook Joints (garages or barns turned into nighttime establishment)PAS 214 Notes: March 3, 20152. Honkey-Tonks3. Barrelhouses (Uses barrels instead of tables)C. Boogie Woogie1. Written for solo piano2. AKA Fast Western Blues3. LH Ostinato (repeated notes)4. RH Improvisations5. Blues FormD. Chicago Blues1. Played on electric guitar with small combos2. Often includes horns/harmonica3. Jazz rhythm section beat4. Delta blues influence5. Horn-like melodic phrases on guitar6. Riff: repeated pattern of notesVI. PerformersA. Country1. Blind Lemon Jefferson (C)2. Leadbelly (Hudie Ledbetter (MD)3. Robert Johnson (MD)4. Lightnin’ Hopkins (T)B. Urban Blues (AKA City Blues)1. Typically female singers accompanied by multiple instruments2. Venues: Nightclubs, Saloons, BordellosC. Performers—Blues 1. Ma Rainey—“Mother of the Blues”2. Mamie Smith—recorded the first blues for Okeh in 19203. Bessie Smith—“Empress of the Blues”4. W.C. Handy—“Father of the Blues”a. Pace & Handy Publishingb. First Blues tune published: “Memphis Blues”D. Boogie Woogie (1920-1940)1. Pinetop Smith2. Meade “Lux” Lewis3. Albert AMmons4. Pete JohnsonE. Chicago Blues1. T-Bone Walker2. Big Bill Broonzy3. Muddy Waters4. Sonny Boy WilliamsonF. Other Modern Performers1. B.B. King2. John Lee Hooker3. Buddy Guy4. Stevie Ray