Outline for MUSC 309 with Professor Schwartz at KU
Outline for MUSC 309 with Professor Schwartz at KU
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Date Created: 02/06/15
MUSC 309 Lecture 14 Rock I British Blues revival A Fans of traditional New Orleans style jazz and skif e also interested in Blues 1 Creates market for blues reissues on LP a Country blues b Chicago blues artists of 50s like Muddy Waters John Lee Hooker Howlin Wolf c Landmark in English rock release of Best of Robert Johnson 1961 d Can all be considered deep blues i Clear ties to country blues ii Little in uence from commercial music styles 2 Blues clubs begin proliferating throughout Britain 3 Skif ers and Trad musicians begin forming bands to perform blues repertoire a Cyril Davies and Alexis Komer form Blues Incorporated i First English RampB band ii Modeled on experiments by Trad jazz bandleader Chris Barber iii Training ground for a number of young players aa Mick Jagger bb Ginger Baker cc Jimmy Page dd Charlie Watts ee Eric Clapton b Followed by other RampB acts c Begin with relatively straight cover versions of Chicago blues d Unlike American covers in 1950s don t change character of music e Sincere attempts to emulate style but often lacking something 4 Eventually yields new rock styles hard rock blues rock heavy metal 5 Blues in uences on hard rock a Primacy of the guitar i Prior to revival guitarists important members of rock bands but rarely featured ii Guitar solos also rare iii blues focused ensembles around the guitar b Guitar tone colors and techniques expand i Overdriven guitar sound aa Result of pushing amplifiers to limits bb Creates snarling hard rock guitar sound ii Virtuosity becomes important c Vocal style i Rough harsh colors of blues singers ii Using entire voice not just refined singing voice aa vocal glissandos slurs and shadings of tone and color bb groans moans and shouts d Improvisation i Extended improvised solos become important part of rock ii Jamming based on blues changes e More dynamic and aggressive showmanship f Increased focus on rhythmic complexity g Riffbased compositional style i Ex Kinks You Really Got Me ii Single guitarbass riff provides melodic interest rhythmic and harmonic foundation aa Harmonic sequence 7 twochord riff played at several different pitch levels bb One for first half of verse another for second third for chorus iii Use of power chords aa threenote chord composed of the tonic fifth note of the scale and an octave above the tonic bb Doesn t include the third necessary component of tonal harmony so neither major nor minor cc Creates static harmonic feel iv Overdriven distorted guitar sound II Rolling Stones A Childhood friends Jagger and Richards discover common interest in blues after hearing Muddy Waters perform in England in 1958 B Form Stones named after line from Muddy Waters quotMannish Boyquot with other regulars of Ealing blues club in 1962 C First hit in England cover of Chuck Berry39s Come On 1 Second I Wanna Be Your Man by LennonMcCartney 2 Most early hits rock and roll rather than blues covers a But in uenced by blues i Dense textures low registers in all instruments ii Hard yet precise drumming creates drive swagger to songs iii Riffbased style laden with power chords iv Rough vocal style v Prominent often distorted guitar b Also favor interdependent texture i Melodic interest shared between voices and instruments ii Can t remove one without lessening whole 3 Manager Andrew Oldham shapes band into the quotantiBeatlesquot a Image as nonconforming rebels b Scraggly clothes scruffy hair aggressive manner i Particularly important Jagger performing style ii Introduces sexual aggressive strut amboyant quotfront manquot style to rock 9 straight out of the blues D First US 1 quotI Can t Get No Satisfactionquot 1 Original by Jagger Richards 2 What makes it work a Riff colored by fuzztone i distorted sound effect achieved by cutting through speaker cone ii or electronic device that simulates same tone color b interesting syncopation X X X X X X X X X X l 2 3 4 l 2 3 4 c quotshuf equot eighth ofriff against rock beat ofbass drums d Circular quality i Avoidance of tonic pitch in riff vocals ii There is a hook the word quotsatisfactionquot but rarely hear aa Instead hear the riff or drum break bb Old blues trick to build tension cc Compare to Spoonful by Charlie Patton e Regular but irregular form i Verse and refrain aa But really isn39t a refrain eXcept quotand Itry I can39t get no quot bb Verses same length but phrases within different lengths very conversational cc Also irregular 18 rather than 16 bars ii One big buildup to end but not endweighted iii Tension nally released by word quotsatisfactionquot on tonic pitch 4 Other things to notelisten for a Riff constitutes most melodic interest b Forceful drumming c Hard aggressive statements of the beat d Against syncopation in all parts F Same qualities in Jumping Jack Flash eXcept 1 More conventional form versechorus 2 Based on 12 bar blues progression with some reharmonization 3 Less reliant on melodic interest of riff 4 More rhythmic layering a Syncopated riff b Eight beat rock rhythm c Backbeat d Main beat emphasized by rhythm guitar and bass drum 5 Static harmonic rhythm in verse much faster in chorus 7 like it s only rock and roll G Sympathy for the Devil 1 Never a top ten hit but to many one of the most representative and powerful of songs 2 Repetition at core of song a Intro and LONG outro b versechorus form with 17 bar long verse verse is 17 rather than 16 measures long a But that s not what shapes the song 3 Shaped by changes of texture tone color 5 Congas establish samba rhythm incorporates clave rhythm at beginning a Maracas come in at the beginning of 4Lh bar b 8 beat rock rhythm 6 First versechorus a Sparse accompaniment of piano bass percussion b Bass becomes more active in second half of verse c Note quotextraquot measure is instrumental homage to 106 blues verses c Refrain based on different chords than verse 7 Second Piano and bass parts become more active 8 Third background vocals added 9 Fourth Verse is guitar solo vocals reenter for refrain 10 Fifth All parts more active regular l6beat rhythm under all 11 Outro vocal improvisation over alternating guitar piano solos G Stones part of first wave of the quotBritish Invasionquot of US l Invasion groups split a Softer pop avored rock and roll acts b Hardedged raw basic RampB orientation 2 Beatles at least in beginning represented the first group a Gerry and the Pacemakers Don t Let The Sun Catch You Crying b Herman s Hermits I39m Into Something Good Mrs Brown You ve Got A Lovely Daughter c Hollies i Bus Stop Stop Stop Stop ii Graham Nash goes on CSNY 3 Stones spearheaded the second later followed by a Animals House of the Rising Son We Gotta Get Out of This Place b Kinks You Really Got Me c Zombies She39s Not There Time ofthe Season d Troggs Wild Thing e Yardbirds H Yardbirds 1 One of premiere bluesin uenced bands in Britain a Particularly recognized for excellence of young guitar player b Eric Clapton b 1945 2 quotFor Your Lovequot marked move away from blues into psychedelic rock 3 Clapton leaves band in 1965 a Replaced by Jeff Beck b Beck later reinforced ultimately replaced by 2quotd guitarist Jimmy Page 4 Joins John Mayall and the Blues Breakers a Respected blues not bluesrock band b Early personnel includes Mick Taylor would replace Brian Jones in Stones Jack Bruce John McVie and Mick Fleetwood Fleetwood Mac c Clapton refines blues sensibilities i Has more freedom to play solo lines ii Begins to receive serious critical popular attention aa Mostly due to pro ciency in blues styled solos bb Ex guitar solo from Double Crossing Time on Bluesbreakers with Eric Clapton 103 iii quotClapton is Godquot graffiti appears throughout England d Soon leaves band to form Cream IV Cream A Ginger Baker b 1939 and Jack Bruce b 1943 two other veterans of blues revival B First quotpower trioquot 1 Lead guitar bass drums 2 No chording instrument like guitar or piano C Format ideal for Clapton who preferred long extended solos lead guitar lls l Rhythm guitar just got in the way 2 Trio format more similar to blues setup D Number oftop 10 hits in UK and US 1 Sunshine of Your Love 2 Strange Brew 3 Both bluesin uenced psychedelic rock hard rock E Ex Strange Brew l Arrangement of the traditional blues Lawdy Mama with new lyrics 2 l2bar blues 3 Riffbased accompaniment a Riff from the Buddy Guy Junior Wells Everything s Gonna Be Alrigh b Complemented by Jack Bruce s syncopated bass line aa Long jazzin uenced ideas bb Makes bass more than just background instrument c Guitar solo i Lifted nearly in entirety from Albert King s Cross Cut Saw ii Nonetheless well executed and contains aa string bending and vibrato ala B B King bb Loose rhythmic quality 7 oats over foundation ii In ection of notes for emphasis rather than sharper accents d Rock rhythm present but irregular emphasis d Double time drum patterns and break toward end F English bluesrock bands spark similar revival in the US G Spearheaded by American guitarist who achieved early success in UK Jimi Hendrix 19421970 IV Hendrix A Raised in Seattle listening to Delta Chicago blues B Started career playing backup for Little Richard B B King and Ike and Tina Turner C Forms own group in 1966 1 One of members of the Animals encourages him to move to London 2 Forms power trio Jimi Hendrix Experience a Noel Redding bass b Mitch Mitchell drums 3 Experience not really a collective ensemble Redding and Mitchell there to back Hendrix C American breakthrough at Monterey Pop festival D Quintessential moment version of Star Spangled Banner at Woodstock E Hendrix one of most in uential guitarists in history of rock until death in 1970 1 Expanding palate of rock sounds 2 Known for use of feedback distorted squeal produced when sound coming through ampli er taken in by a microphone or pickup on guitar and then fed back through amp 3 And other effects pedals a Electronic circuits through which sound from pickup routed b Alters sound that emerges from amp c Common fuzztone wawa 4 Deafening volume important part of style 5 All of the above in uenced by electric blues artists Earl Hooker TBone Walker 6 Awesome technical mastery of instrument 7 Dynamic performing style a quotSacrificequot of guitar at Monterey Pop festival b Dominance of stage as soloist D Voodoo Chile Slight Return 1967 l l6bar blues form a Adds fourth line to traditional aab lyrics b Extends length of each phrase like country blues player c Doesn t follow traditional 12bar progression i Static harmonic rhythm for first part of song ii More variety faster harmonic rhythm in second 2 Uneven shuf e beat throughout 4 to the bar 3 Hendrix on vocals a Laid back bluesin ected vocal tone b 106 division of vocal line as in Delta Blues c Verbal interjections 4 But focus is clearly the guitar solos a Loaded with feedback so much that solo at times overlaps itself b Bends strings to emulate blues slide playing c Occasional doublenote fills riffbased episodes single string playing d Varies tone color with pedals 5 Darker textured sound becomes trademark
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