Shortbook™ of the Month - "Blues Deep: Fifty"
50 inspired Lines, Phrases & Sequences to give you the Blues!
50 inspired Lines, Phrases & Sequences to give you the Blues!
The Blu-u-u-u-es...!
What more can be said that hasn't already been said on the subject, whether one is referring to the musical genre or to one's own state of being?
All I know is ...I got 'em, you got 'em, the whole damn world's got 'em for sure...whether or not we realize it or even care to admit it.
To have the blues is to "affirm one's own existence".
As a form of musical expression, the Blues is the bedrock of Jazz, Boogie Woogie, Rhythm & Blues, Rock & Roll and Funk, and although it's often performed in a group setting, the essence (soul) of the Blues (and Jazz), however, is in the personal statement and expression of the individual.
When all is said and done, it all comes down to you, yourself and your blues.
But don't take that from me:
“Everybody has the blues...there's no doubt about it, but everybody's blues aren't exactly the same and everybody don't express it the same way. They express it according to the type of raising and environment that they've been around.”
Willie Dixon – bassist / songwriter / producer
...which is to say that there are many diverse interpretations as to what the Blues is - or isn't.
What more can be said that hasn't already been said on the subject, whether one is referring to the musical genre or to one's own state of being?
All I know is ...I got 'em, you got 'em, the whole damn world's got 'em for sure...whether or not we realize it or even care to admit it.
To have the blues is to "affirm one's own existence".
As a form of musical expression, the Blues is the bedrock of Jazz, Boogie Woogie, Rhythm & Blues, Rock & Roll and Funk, and although it's often performed in a group setting, the essence (soul) of the Blues (and Jazz), however, is in the personal statement and expression of the individual.
When all is said and done, it all comes down to you, yourself and your blues.
But don't take that from me:
“Everybody has the blues...there's no doubt about it, but everybody's blues aren't exactly the same and everybody don't express it the same way. They express it according to the type of raising and environment that they've been around.”
Willie Dixon – bassist / songwriter / producer
...which is to say that there are many diverse interpretations as to what the Blues is - or isn't.
McKinley Morganfield, better known as Muddy Waters
“Blues is one of the modern forms of African music.”
Taj Mahal – Blues musician / folklorist
“Blues is a natural fact, is something that a [person] lives. If you don't live it you don't have it. Young people have forgotten to cry the blues. Now they talk and get lawyers and things.”
Big Bill Broonzy – Blues singer / guitarist
“The blues is instilled in every musical cell that floats around your body.”
Nick Cave - musician, singer-songwriter, author, screenwriter
“The blues is in everything, so it's not possible to neglect it.”
Wynton Marsalis – trumpeter / educator
“Blues is the bedrock of everything I do. All the characters in my plays, their ideas and attitudes, the stance they adopt in the world, are all ideas and attitudes that are expressed in the blues.”
August Wilson – playwright (“Fences”, "Ma Rainey's Black Bottom", "The Piano Lesson")
“When I was a kid, we didn't have any blues stations. I never heard Howlin' Wolf or Muddy Waters or any of those people until the Stones had come along, and I took it upon myself to find out who these people were that they were covering.”
Tom Petty – singer - songwriter / guitarist / producer.
Ditto that! I didn't know about Wolf or Muddy either, and I grew up in New York City.
Taj Mahal – Blues musician / folklorist
“Blues is a natural fact, is something that a [person] lives. If you don't live it you don't have it. Young people have forgotten to cry the blues. Now they talk and get lawyers and things.”
Big Bill Broonzy – Blues singer / guitarist
“The blues is instilled in every musical cell that floats around your body.”
Nick Cave - musician, singer-songwriter, author, screenwriter
“The blues is in everything, so it's not possible to neglect it.”
Wynton Marsalis – trumpeter / educator
“Blues is the bedrock of everything I do. All the characters in my plays, their ideas and attitudes, the stance they adopt in the world, are all ideas and attitudes that are expressed in the blues.”
August Wilson – playwright (“Fences”, "Ma Rainey's Black Bottom", "The Piano Lesson")
“When I was a kid, we didn't have any blues stations. I never heard Howlin' Wolf or Muddy Waters or any of those people until the Stones had come along, and I took it upon myself to find out who these people were that they were covering.”
Tom Petty – singer - songwriter / guitarist / producer.
Ditto that! I didn't know about Wolf or Muddy either, and I grew up in New York City.
With the advent of "the British Invasion" of pop groups which included the Beatles & the Rolling Stones (which took their name from a Muddy Waters song title) and through their respective appearances on the nationally televised Ed Sullivan Show, the Stones with their funkier sound and appearance, were an early popular manifestation of an English "Blues Band".
For a generation of mostly non-Black Americans, this resulted in the exposure to what had been largely ignored by the American media for years and hidden in plain sight, under the divisive label of "race music".
For their coincidental contribution to America's cultural enlightenment, it could be argued that the Stones and their contemporaries, in the meantime, have indeed been very well compensated!
A lesser known fact is that these British groups themselves may have never been exposed to the Blues if not for the efforts of German promoters Horst Lippmann and his partner Fritz Rau, who along with the iconic Chicago based bluesman Willie Dixon, initiated, organized and promoted the American Folk Blues Festival in Germany - which was picked up, as well, in England and France - throughout most of the 1960's.
Members of the Stones, as well as other future British Blues / Rock stars-to-be, were almost certainly in the audience at some of those early concerts.
For a generation of mostly non-Black Americans, this resulted in the exposure to what had been largely ignored by the American media for years and hidden in plain sight, under the divisive label of "race music".
For their coincidental contribution to America's cultural enlightenment, it could be argued that the Stones and their contemporaries, in the meantime, have indeed been very well compensated!
A lesser known fact is that these British groups themselves may have never been exposed to the Blues if not for the efforts of German promoters Horst Lippmann and his partner Fritz Rau, who along with the iconic Chicago based bluesman Willie Dixon, initiated, organized and promoted the American Folk Blues Festival in Germany - which was picked up, as well, in England and France - throughout most of the 1960's.
Members of the Stones, as well as other future British Blues / Rock stars-to-be, were almost certainly in the audience at some of those early concerts.
Marion Walter Jacobs (aka Little Walter)
Like Tom Petty and many others, I went on to investigate and acquire recordings of those artists: Muddy Waters, Little Walter, Sonny Boy Williamson II, Buddy Guy, Bo Diddley, etc., all of whom had recorded for the Chess label in Chicago.
I became mesmerized by the sound of the amplified blues harmonica of Marion "Little Walter" Jacobs, who is credited with being the first musician of any kind to purposely use electronically amplified tube distortion as an expressive musical device.
I taught myself how to play blues harp and learned all of Walter's then available solos, which was an invaluable introduction to Jazz phrasing.
This was the so-called "urban blues" the electrically amplified, citified version of the "rural blues" of the Mississippi Delta, spawned by the likes of Charley Patton , Son House and Robert Johnson and brought to Chicago and other northern cities via the Great Migration.
This was the music, with roots in West Africa, of the children and grandchildren of former slaves, who as "free" Americans, were themselves bound to a form of "legalized" servitude known as sharecropping and "Jim Crow" laws.
While it is impossible to separate the resulting musical expression which became known as "the Blues" from the caste system that spawned it, the Blues, because of its universality, has become part of the musical and cultural vocabulary of Planet Earth itself.
I became mesmerized by the sound of the amplified blues harmonica of Marion "Little Walter" Jacobs, who is credited with being the first musician of any kind to purposely use electronically amplified tube distortion as an expressive musical device.
I taught myself how to play blues harp and learned all of Walter's then available solos, which was an invaluable introduction to Jazz phrasing.
This was the so-called "urban blues" the electrically amplified, citified version of the "rural blues" of the Mississippi Delta, spawned by the likes of Charley Patton , Son House and Robert Johnson and brought to Chicago and other northern cities via the Great Migration.
This was the music, with roots in West Africa, of the children and grandchildren of former slaves, who as "free" Americans, were themselves bound to a form of "legalized" servitude known as sharecropping and "Jim Crow" laws.
While it is impossible to separate the resulting musical expression which became known as "the Blues" from the caste system that spawned it, the Blues, because of its universality, has become part of the musical and cultural vocabulary of Planet Earth itself.
Blues Scale, anyone...?
Although there are differing opinions as to what in theory, constitutes the Blues Scale, it seems clear that the pitch set which comprises the Blues tonality (ultimately referred to as a “blues scale”), is derived naturally from the harmonic overtone series – in particular harmonics 4 through 7 – from which the non-tempered equivalent of a dominant 7 chord is formed (C-E-G-Bb in the graphic below, which uses C as the fundamental).
Ex. 1 – The Natural Harmonic Overtone Series
Although there are differing opinions as to what in theory, constitutes the Blues Scale, it seems clear that the pitch set which comprises the Blues tonality (ultimately referred to as a “blues scale”), is derived naturally from the harmonic overtone series – in particular harmonics 4 through 7 – from which the non-tempered equivalent of a dominant 7 chord is formed (C-E-G-Bb in the graphic below, which uses C as the fundamental).
Ex. 1 – The Natural Harmonic Overtone Series
Adding the 9th and 11th harmonics creates a natural 9 and #11 (C7 9 #11), although the melodic approach to the #11, when played or sung, might be more so as a 5th that was flatted, rather than a 4th that was sharped..
It's important to understand that because of the Western (i.e. “of European derivation”) concept of tempered tuning, which divides the octave into 12 equidistant pitches, or semitones, one runs into a bit of a problem when trying to interpret, within the boundaries of the diatonic Western scale system, the non-tempered elements which define what a “blues scale” actually is.
Is it Major or minor? How or where does it fit into the diatonic modal scheme of things, if at all? These quandaries are enough to give one the blues in their own right!
The concept of Maj and minor (determined by the 3rd scale degree) tends to be blurred within the tonality of the Blues. Referring back to the Overtone Series graphic in Ex. 1, the Maj. 3rd is extremely close to the fundamental (5th harmonic) as compared to the minor or b3rd (19th harmonic) - kind of like the Earth as compared to Pluto in relation to the Sun.
In the original rural vocal Blues styles, both the Major 3rd and b3rd function micro-tonally, sliding between the two. This effect is present with the b5 and natural 5th, as well. On typical tempered scale tuned instruments, such as horns and guitars, this and other types of vocal effects are approximated, to a greater or lesser degree, by employing lip slurs, string bends and hammer-ons, alternate fingerings, half valves and grace notes, as well as mutes and plungers for brass.
Ex. 2 – Sequence from "Blues Deep: Fifty", which employs both Maj and min 3rds as distinct scale degrees.
It's important to understand that because of the Western (i.e. “of European derivation”) concept of tempered tuning, which divides the octave into 12 equidistant pitches, or semitones, one runs into a bit of a problem when trying to interpret, within the boundaries of the diatonic Western scale system, the non-tempered elements which define what a “blues scale” actually is.
Is it Major or minor? How or where does it fit into the diatonic modal scheme of things, if at all? These quandaries are enough to give one the blues in their own right!
The concept of Maj and minor (determined by the 3rd scale degree) tends to be blurred within the tonality of the Blues. Referring back to the Overtone Series graphic in Ex. 1, the Maj. 3rd is extremely close to the fundamental (5th harmonic) as compared to the minor or b3rd (19th harmonic) - kind of like the Earth as compared to Pluto in relation to the Sun.
In the original rural vocal Blues styles, both the Major 3rd and b3rd function micro-tonally, sliding between the two. This effect is present with the b5 and natural 5th, as well. On typical tempered scale tuned instruments, such as horns and guitars, this and other types of vocal effects are approximated, to a greater or lesser degree, by employing lip slurs, string bends and hammer-ons, alternate fingerings, half valves and grace notes, as well as mutes and plungers for brass.
Ex. 2 – Sequence from "Blues Deep: Fifty", which employs both Maj and min 3rds as distinct scale degrees.
Listen
Harmonically, with the b3 being considered as #9, and voiced on top as 3–5-b7-#9 (E-G-Bb-D# in C) the all important 7#9 sound is created, which is part of many genres of Urban Blues, Jazz, R&B, Funk and Pop. C7#9 is the first chord heard in the example above.
Ex. 3 – The Lowdown & the Dirty
Listen
One of the more peculiar examples of non-European harmonic practice within the Blues tonality is the use of the dominant 7th (normally a functioning V7 aiming to resolve) as a tonic I7 chord (C7 in C). Again, referring back to the overtone series, it's very natural to consider this dominant sounding chord as belonging to the key center because it vibrates that way in nature. Therefore, it feels and sounds natural! The flatted 7th degree, for example, is a very definable and important melodic component of Blues tonality, without necessarily possessing the dominant urge to resolve somewhere.
It's also interesting to note that the typical Blues harmonica, or blues harp, which consists of ten holes, each producing a different note when blowing or drawing, creates a dominant 7th chord when drawing in on holes #2 through #5 simultaneously. Thus, playing a "C harp" in "cross position", produces a G7 chord from the aforementioned holes. Including hole #6 into the mix adds the 9th (G9), something that Little Walter would do on occasion with great effect.
It's also interesting to note that the typical Blues harmonica, or blues harp, which consists of ten holes, each producing a different note when blowing or drawing, creates a dominant 7th chord when drawing in on holes #2 through #5 simultaneously. Thus, playing a "C harp" in "cross position", produces a G7 chord from the aforementioned holes. Including hole #6 into the mix adds the 9th (G9), something that Little Walter would do on occasion with great effect.
Ex. 4 – The Boogie & the Woogie
The Blues Scale that was finally settled upon for this volume of “Blues Deep: Fifty” is a 9-note (nonetonic) version containing both flat & natural 3rds and 5ths, as well as a Perfect 4th, Maj 6th and 9th. The Maj 6th is included here since it is often present in Blues phrases of all styles (as is the Maj 9th) and is the root of the relative minor of the key in question.
Ex. 4 – A Nonetonic Blues Scale Matrix
Ex. 4 – A Nonetonic Blues Scale Matrix
I feel that this 9-note scale covers all the Blues bases, containing both the dominant 7 and minor pentatonic sounds, with the b5, as well as the Maj 6 & 9 included also.
This “Blues Scale” should be practiced in all keys for the purpose of gaining familiarity with its components and for its sound, as well as its emotional connotations, which can be an entirely personal thing. It forms a basis for the vast majority of the Blues sequences found throughout this book.
The 50 sequences found in “Blues Deep: Fifty” come from various sub-genres of the Blues, and are not specific to any one particular instrument.
Each sequence is presented as a 2 bar phrase and organized into 12 chapters, one per key.
No chord symbols are given, as each phrase is based on that key's tonic 7th or 7#9 chord, although a dominant or subdominant movement may be implied melodically.
Working these sequences through the keys is useful and practical, especially for horn players, who might often find themselves playing in common guitar keys, such as E, B & A concert, for example.
Also, an important aspect of the Blues which is often ignored - rhythm - is featured in the way these sequences are notated. The majority are presented in triplets with a 12/8 feel, in either 8th or 16th notes, which highlights aspects of the "push and pull" between the 3 and 4 feel, which is inherent in all African based rhythm.
In the words of the great Little Milton Campbell: "Hey! Hey! The Blues is alright!"
This “Blues Scale” should be practiced in all keys for the purpose of gaining familiarity with its components and for its sound, as well as its emotional connotations, which can be an entirely personal thing. It forms a basis for the vast majority of the Blues sequences found throughout this book.
The 50 sequences found in “Blues Deep: Fifty” come from various sub-genres of the Blues, and are not specific to any one particular instrument.
Each sequence is presented as a 2 bar phrase and organized into 12 chapters, one per key.
No chord symbols are given, as each phrase is based on that key's tonic 7th or 7#9 chord, although a dominant or subdominant movement may be implied melodically.
Working these sequences through the keys is useful and practical, especially for horn players, who might often find themselves playing in common guitar keys, such as E, B & A concert, for example.
Also, an important aspect of the Blues which is often ignored - rhythm - is featured in the way these sequences are notated. The majority are presented in triplets with a 12/8 feel, in either 8th or 16th notes, which highlights aspects of the "push and pull" between the 3 and 4 feel, which is inherent in all African based rhythm.
In the words of the great Little Milton Campbell: "Hey! Hey! The Blues is alright!"
Click images to enlarge
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These video links below are definitely worth a listen, even if you've heard them before. They are three of my favorites.
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Little Walter - Flying Saucer
This aptly named instrumental is one of the great, unsung recordings of the 1950s, and should be recognized as such, but its intensity probably scares people.
Not only is Walter in top form, as well as Robert "Jr." Lockwood & Fred Below on guitar & drums respectively, but the slapback echo in time with the music is revolutionary. The aliens have landed and are taking no prisoners! |
Robert Johnson - Preachin' Blues
Robert Johnson's supposed pact with Lu Cipher at the crossroads, etc. has been hyped and romanticized for decades now. Whether he did or didn't, people "sell their souls" on a daily basis for a whole lot less than the immortality he's achieved, in ways that neither he or Lu could have imagined.
"...up this mornin', ...blues walkin' like a man.." Makes you wonder, though! |
Elmore James - The Sun is Shining
Recognized as the "King of the Electric Slide Guitar", Elmore James was known as well for his strong, dramatic vocals. He died prematurely 1963 of a heart attack, just before leaving for Europe as part of the American Folk Blues Festival, which is why there is, to date, no known video of him.
This, however, did not diminish his influence much, as many of his recordings are considered classics. |
B. Stern
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