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What is Popular Music?
- 1.Popular music:
- a.Appeals to a large percentage of the population;
- b.Is familiar and widely heard;
- c.Is usually profitable;
- d.Sounds different from classical or folk music.
- 2.The central fact of popular music:
- a.Popular music owes its identity to a synthesis of styles;
- b.It blurs racial, economic, geographical, cultural, and class boundaries.
Talking about Popular Music
Properties of a Musical Tone
- 1.Timbre: tone color
- 2.Pitch: how high or low
- 3.Intensity/dynamics: how loud or soft
- 4.Duration: how long or short
The Elements of Popular Music
- 1.Instrumentation
- 2.Rhythm
- 3.Melody
- 4.Harmony
- 5.Form
- 6.Dynamics
- 7.Texture
These elements grow from the four properties of a musical tone (listed above)
- In your text, all of the elements of popular music are discussed using Chuck Berry’s “Maybellene” as an example. But I’ve chosen to use diverse examples and styles to illustrate these elements and then to have you listen to “Maybellene” afterwards.
The Sounds of Popular Music
- 1.Instrumentation: the instruments and voices that are being used.
- a.American popular music uses both traditional instruments (for example, guitar and violin) and homemade instruments (for example washboard, bones, woodblocks). Even some stringed instruments (e. g., a banjo) could be homemade.
- *Listen to the minstrel song, “De Boatman’s Dance,” for a mixture of traditional and homemade instruments.
- b.Importance of the rhythm section, which marks the beat and also supplies the harmony: 1) plucked instrument (bass guitar or string bass), 2) piano or keyboard, and 3) drums/percussion. In early jazz, the rhythm section often included tuba and banjo.
- *Listen to King Oliver: “Dippermouth Blues” to hear how important the rhythm section is in this early jazz recording. Here, the rhythm section comprises piano (barely heard), banjo, string bass, and drums.
- 2.Performance Style: how the instruments and voices are being used.
- a.Sometimes instruments and voices are used in unusual ways:
- 1)For example, the violin is played as a fiddle in bluegrass music. This means that the techniques are different from classical violin playing.
- *Listen to Bill Monroe and the Blue Mountain Boys: “It’s Mighty Dark to Travel.”
- 2)In another example, the trumpet mimics a voice, and Armstrong’s voice mimics an instrument (scat singing).
- *Listen to Louis Armstrong: “West End Blues.”
- b.Sometimes a performer has a unique vocal or playing style. For example, Ray Charles and Michael Jackson are easily recognized for their unique vocal styles, and Jimi Hendrix and Eddie Van Halen developed unique guitar styles.
Rhythm: the time element
- 1.Tempo refers to the speed of the beat.
- 2.Popular music is usually organized into 2 or 4 beats per bar (less often 3 beats).
- a.In 2-beat rhythm, each beat can be subdivided into two parts, with the accent coming between the beats (“backbeat”): 1 and 2 and. We will later call this a foxtrot beat.
- b.In 4-beat rhythm, each beat can also be subdivided. If each beat is divided into two equal parts so that it sounds as if there are 8 parts to each bar: 1 and 2 and 3 and 4 and, we call it a rock beat. There is also a backbeat on 2 and 4.
- c.Swing music also uses 4-beat rhythm, but each beat is not subdivided into two parts as in rock music. In swing, there is strict timekeeping in the rhythm section, with syncopations in the other instruments.
- d.In classical music the expected accents are on 1 and 3, so the backbeat disrupts the rhythms. Any disruption of the expected accent pattern is called “syncopation,” so backbeat is a type of syncopation.
- e.Backbeat is an African-American interpretation of the afterbeat of a march or polka, so that the normally unaccented beats (2 and 4) are accented.
- f.“Good” beat refers to qualities that make us like a particular song, especially to the interplay of different rhythms.
- *Listen to Chuck Berry’s “Johnny B. Goode,” which has a fast tempo, a rock beat (bars of 4 beats, each divided into 2) with a“backbeat,” and rhythmic interplay with syncopation.
Melody and Harmony
- 1.Melody: the tune
- a.Melodies grow from short, easily recognizable and rhythmically interesting ideas called “riffs,” which can occur in the vocals or in the instruments. “Stormy Monday Blues” (below) begins with a prominent instrumental riff.
- b.Riffs are combined and developed (which means they are repeated in a variety of ways) to become phrases, and phrases combine to become the tune or melody of the song.
- c.Some melodies have smooth riffs. In “My Heart Will Go On,” the instrumental introduction contains riffs that are then heard when Dion enters with the words. Notice how smooth the melody is and also how much distance there is between the highest and lowest note (range).
- Click here for the youtube video of “My Heart Will Go On.”
- d.More often in popular music, the riffs are angular, and the melody is “conversational” with many repeated notes and a small range.
- *Listen to T-Bone Walker: “Stormy Monday Blues”
- 2.Intervals, Scales, and Blue Notes
- a.Intervals combine to make scales.
- b.Scales are series of notes on which melodies are based:
- 1)The most common scales are major and minor, which have 7 notes, but in popular music “blue notes” are often substituted for conventional notes.
- 2)Five-note scales, called pentatonic, are heard in African music and folk music.
- c.Blue notes occur when the European scale combines with the African-American pentatonic scale.
- d.Bent pitches are notes that fall “between the cracks” (for example, between a white and black key on the keyboard) and are not found in either the 7-note or 5-note scales. Blues and jazz singers use bent pitches for expression.
- *Listen to Billie Holiday singing “God Bless the Child” for her use of bent pitches that allow her to interpret the song in a personal manner.
- 3.Harmony: the chords
- a.Most often harmonies (chords) are simple in popular music, but musicians are often creative with what they add to simple chords.
- b.The most common chords in popular music are I, IV, and V, because these chords contain all the notes in the major and minor scale.
- *Listen to this early rock and role tune, “La Bamba” by Richie Valens. It uses only I, IV, and V.
Texture:the musical fabric, or the relationship among the parts. It refers to:
- 1.The number of voices and instruments;
- 2.The distance (range) between the highest and lowest sounds;
- 3.Where the sounds are concentrated: are they mostly high as in King Oliver’s “Dippermouth Blues,” or are they mostly low as in T Bone Walker’s “Stormy Monday Blues”?
- 4.We also talk about melodic texture (where is the melody?) and rhythmic texture (how many different rhythmic layers do you hear? do some parts push against the beat?);
![Dippermouth Dippermouth](https://s3.amazonaws.com/halleonard-pagepreviews/HL_DDS_223461C4e3hUmg2B.png)
- 5.Is the texture thick/dense with much activity, or is it thin with relatively light activity?
- *Listen for dense texture, especially syncopated rhythmic texture with many layers, in Parliament’s “Give Up the Funk.”
Form: the organization of the song
- 1.Two important forms in popular music are verse/chorus form and blues form:
- a.Verse/chorus form: the lyrics of the verses change, but the music stays the same; both lyrics and music of the chorus (for example, “O Susanna, oh don’t you cry for me . . .” ) remain the same.
- *Listen to Stephen Foster’s “O Susanna “ for an example of verse/chorus form. Also notice how thin the texture is compared to Parliament’s “Give Up the Funk.”
Dippermouth Blues Lyrics
- b.Blues form: each chorus has three lines of text. The first two have the same words and generally the same music (a,a), and the last has different words and music (b). Each line has 4 bars of music, so we call it “12-bar blues.” Notice that each line of text begins with a different chord (harmony), but each line ends with the same chord (I).
- *Listen to Blind Lemon Jefferson’s “Black Snake Moan” for an example of blues form. You will also hear lots of bent pitches.
![Dippermouth blues sheet music pdf for piano Dippermouth blues sheet music pdf for piano](https://i.pinimg.com/originals/30/54/e9/3054e9c77330f7a7b5c79f22296726fb.jpg)
- 2.Another important aspect of form is fade-in, in which instruments enter gradually, and fade-out, in which the song does not come to a definite close but, instead, dies off.
A Matter of Style
Free Blues Sheet Music For Guitar
- 1.Style refers to the musical elements that are typical in a type of music. So, for example: swing jazz style uses musical elements differently than rock and roll style, and blues style uses them differently from musical theater style.
- *Listen to Chuck Berry’s “Maybellene” as an example of rock and roll style with blues and country influences.
- *Then listen to Chuck Berry’s “Johnny B. Goode again, and you will hear many of the same musical features as you heard in “Maybellene.”
Dippermouth Blues Sheet Music Pdf Online
- 2.Style and meaning: how do the stylistic elements or features relate to the lyrics of the song?
Looking Back, Looking Ahead
- 1.Chapter One described many of the qualities of popular music that will be discussed in greater detail in subsequent chapters.
- 2.The terms introduced will provide the foundation for style discussions as we move from the beginnings of American popular music to the popular music of today.
Dippermouth Blues Composer
Movements/SectionsMov'ts/Sec's | 40 pieces |
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First Publication | 1982 – Washington, DC: Smithsonian Institution |
Genre Categories | Pieces; For piano; Scores featuring the piano; For 1 player |
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Incomplete Volume* (EU)
*#554874 - 16.85MB, 456 pp. - 0.0/10 (-) - C*/N*/V*- 2355Ã--⇩ - Ottaviano
*#554874 - 16.85MB, 456 pp. - 0.0/10 (-) - C*/N*/V*- 2355Ã--⇩ - Ottaviano
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General Information
Dippermouth Blues Sheet Music Pdf For Piano
Work Title | The Collected Piano Music |
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Alternative. Title | Ferdinand 'Jelly Roll' Morton, The Collected Piano Music by James Dapogny |
Composer | Morton, Jelly Roll |
I-Catalogue NumberI-Cat. No. | None [force assignment] |
Movements/SectionsMov'ts/Sec's | 40 pieces:
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First Publication. | 1982 – Washington, DC: Smithsonian Institution |
Composer Time PeriodComp. Period | Early 20th century |
Piece Style | Early 20th century |
Instrumentation | piano |
Extra Information | *Cannonball Blues credits Charlie Rider and Marty Bloom as co-composers, Georgia Swing was composed with Santo Pecora (1902-1984). Although Louis Armstrong is credited as co-composer for Wild Man Blues, this was a publisher's marketing attempt. |
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