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MUSI 2060: Midterm One
call and response |
A practice in singing in which a solo vocalist (the call) is answered by a group of singers. Also heard in instrumental music, or between vocalists and instrumentalists, the style is vocal in origin. Also referred to as antiphonal singing. |
Race records |
Term that refers to all music recorded by African-American form the 1920s through the 1940s, including blues, jazz, and ragtime. Race records were usually from small independent labels and were distributed by the record company owners themselves, often from the trucks of their cars. Outlets for race records were owners themselves, often from the trunks of their cars. Outlets for race records were any type of store that serviced black customers. Race records became referred to as rhythm and blues records during the late 1940s. |
Slapped bass |
plucking the bass string to the side and comes back and hits the bass; makes "clicking" sound; northern band |
Walking bass |
A type of bass line in which each beat of a measure is different tone. The bass line is usually a conjunct type of melody that enables the bassist to go from one chord to the next. |
“Bo Diddley” rhythm |
hambone rhythm |
ostinato |
A motive, phrase or theme that is constantly repeated while other musical elements change; a riff. |
double stops |
A double stop, in music terminology, is the act of playing two notes simultaneously on a melodic percussion instrument or stringed instrument (for example, a violin or a guitar). |
two-beat bass |
A type of bass accompaniment in which the bassist plays the root of the chord on the first beat of a measure and the fifth of the chord on the third beat of a measure. Associated very strongly with county music. |
Downbeat |
The first beat of a measure. The term has also been used for the regular accented beats in a 4/4 measure, beats one and three |
Backbeat |
Placing a strong accent on the offbeats. In a four-beat measure, the drummer typically emphasizes beats 2 and 4, creating the basic rhythm of rock music. |
strophic song form |
A song form in which each verse of the text is sung to the same music. The music for each verse remains the same while the words change. Most blues songs and folk songs are strophic forms. (Compare with standard song form and through-composed form.) |
string band |
lead vocalist; 2-4 backup singers; fiddles; acoustic guitars; acoustic bass; possibly banjos, mandolins |
fill |
An instrumental embellishment played during breaks (rests) in a vocal melody. The standard 12-bar blues from has an instrumental fill at the end of each sung line. Fill also refers to anything played by a drummer other than strict time-keeping. |
Charley Patton |
"father of the delta blues" |
Cosimo Matassa |
owner, recording engineer, j&m studio, new orleans dance r&r |
Jerry Leiber & Mike Stoller |
song writers; wrote many classics; went to hear willy mae thorton |
Alan Freed |
disc jockey; big fan of r&b; "moondog's r&r party"- he began playing same r&b as black artists but called it r&r for white teens; they finally could listen to music that was their own instead of their parents. |
Phil & Leonard Chess |
brothers who had their own studio; chicago R&R. |
Big Mama Thornton |
r&b singer and songwriter
"hound dog" |
Sam Philips |
record executive & producer at mephis recording studio; memphis country rock |
Scotty Moore |
great american guitartist who backed elvis presley |
Col. Tom Parker |
elvis presley's manager |
Eddie Cochran |
singer-songwriter-musician; R&R rockabilly |
Dave Bartholomew |
new orleans dance R&R; artist & repertoire, trumpet player, arranger, manager, band leader, talent scout. |
Carl Perkins |
memphis country rock; blue suade shoes; guitarist- fingerpicking, dampen strings, estended chords, syncopated rhythms, chord anticipations |
the blues (characteristics) |
call & response; descending melody; blue/bent notes; simple harmonic progression; strophic song form |
william christopher handy |
blues |
jali |
african historian/musician; blues |
texas rural blues |
single note bass string runs; arpeggiated chords; repeated melodic, rhythmic figures on strings; alternate playing on bass & treble strings; single string melody fills |
blind lemon jefferson |
texas rural blues |
mississippi delta blues |
frequent sliding; wailing style of singing; small melodic range; intricate polyrhythms; rhythmic, chordal fills; percussice playing style |
robert johnson |
mississippi delta blues |
texas urban blues |
horns as backup band; sax soloing instrument; strong piano basis; no sliding; |
t-bone walker |
texas urban blues |
chicago blues |
slide guitar; derrived from mississippi delta blues; frequent bent notes; frequent use of double-stopped strings; intricate polyrhythms; single-string fills |
muddy waters |
chicago blues |
meade "lux" lewis |
boogie woogie |
country & western |
mostly ballads with reccuring verse; love gone wrong; southern country and western swing |
the carter family |
country and western |
southern country |
simple melodies (narrow range/ uncomplicated surface rhythms); simple harmonic structures; clear meters; use of two-beat bass; vocalist have nasal quality, slide from pitch to pitch, use yodeling technique; string bands |
hank williams |
southern country |
jimmie rodgers |
southern country |
western swing |
performed same reertoire as country band but included poplular jazz, blues, & pop songs; players encouraged to improvise; use of drums, piano, electric instruments influeces mainstream country |
bob wills |
western swing |
rhythm and blues |
pre wwII: race records; jump bands; elements of blues, boogie woogie, big band swing
post wwII: harsher vocal style; more risque lyrics; loud instruments; emphatic dance rhythm; replace race records with r&b |
roy brown |
R&B |
jackie brenston |
R&B |
big joe turner |
R&B |
northern band r&r |
bill haley
steady mechanical meter; fast tempo; quick & even surface rhythms; staccato guitar chords on the backbeat; slapped walking bass line; boogie woogie ostinato |
new orleans dance r&r |
bass foundation; barrelhouse rhythm; basic beat subdivided into triplet feel; rarely any backup singers |
"fats" domino |
new orleans dance R&R |
"little" richard |
new orleans dance R&R |
memphis country rock |
generally fast tempo; propelled by slap bass; rhythm falls between n. band and new orleans; recorded with natural studio echo; developed principally at sun studios; voical-stuttering, yelps, cracked falsetto |
jerry lee lewis |
memphis country R&R |
elvis presley |
country, rural blues (growls), white gospel, black gospel (shouting), pop singers (crooning & wide verbrato) |
chicago R&R |
fast tempos; hard-driving beat; even beat subdivisions; strophic; 12 bar blues progression; narrative texts; guitar soloists |
chuck berry |
chicago R&R;
repeated rhythmic, melodic riffs; double & multiple stops; bent notes and bend double stops; finger slides; cliche intro.
influences-r&b; pop; blues; country; jazz |
bo diddley |
chicago R&R |
doo-wop progression |
... |
buddy holly guitar style |
electric lead & rhythm guitars; bass; drums; everyone sings; guitar solos; popularized use of fender stratocaster guitar |
buddy holly vocal styles |
hiccuping; changing tone color mid-tone; |
vocal groups |
tight, close harmony; nonsense syllables from backup singers; instrumentalists deep in background; underlying triple pulse beneath basic duple meter; many in standard form |
the orioles |
vocal groups |
frank lyman & the teenagers |
vocal group |
the coasters |
vocal group |
the marvelettes |
vocal groups |
the shireeles |
vocal groups |