The Musical Structure Of The 12 Bar Blues

A single source of blues music cannot be traced, but Ma Rainey is rightfully credited with introducing it to the world. Hence the reason she was dubbed as “The Mother of the Blues”. During an interview in the 1930s, Ma told musicologist John Work, that she heard what would be called blues, for the first time around 1902. She was in a small town in Missouri working a show at the time, and one morning a local girl came into the tent singing about a man whom had left her. This new style of soulful music drew in Ma Rainey so much she later had the girl teach her the song. Rainey performed the song as an encore in a show soon after, earning a special place in the show, and marking the start of her career (Jas Obrecht Archive).

In his short story Sonny’s Blues, James Baldwin uses the motif of music and light and dark to reveal and reinforce the theme of suffering transforming people into their better selves.

12-bar Blues progression is 12 measures long (I, IV, and V chords of a key). A bar is measuring the music against its rhythm. A bar is a vertical line that is drawn through a musical staff. The rhythm is usually one-two-three-four. When you put stress on the two and four you get your blues progression basic beat.

At the heart of jazz, the blues was a creation of former black slaves who adapted their African musical heritage to the American environment. The blues is a 12-bar musical form with a call-and-response format between the singer and his guitar dealing with themes of personal adversity, overcoming hard luck, and other emotional turmoil.

The blues emerged as a distinct African-American musical form in the early twentieth century. It typically employed a twelve-bar framework and three-lined stanzas; its roots are based in early African-American songs, such as field hollers and work songs, and generally have a melancholy mood. The blues can be divided into many sub-genres, including Classical, Country, and Urban. The purpose of this paper is to focus on the careers of two of Classical blues most influential and legendary singers: Ma Rainey and Bessie Smith.

The blues is a musical style of feeling, a style about playing what comes from your heart. It came from work songs, field chants, spirituals, field hollers and revivalist hymns from the African American communities. Blues is associated with the sad times

On the other hand, Blues were basically from work songs of African Americans slaves at the time. “It is a native American music, the product of the black man in this country, or, to put it more exactly the way I have come to think about it, blues could not exist if the African captives had not become American captives”(pp.17), said Jones and Baraka. In Jazz – A History, Frank Tirro wisely analyzes and explains the relationship between the unique background and

The Blues also became a hit in the 1920s after Mamie Smith recorded “Crazy Blues” and it grew into a huge part of the Jazz Industry. African Americans were given credit for the creation of the Blues industry of music as well. Bessie Smith was known as the “most famous of the 1920s Blues singers.”

There are several stylistic characteristics of the blues. The first one is the blue notes, which is the "bent" technique for lowering the pitch of third and seventh scale degrees in the major scale(259). The next one is the blue chorus, which is three-line lyrics, and it contains fill which is the instrument response of the call and response between vocal and instrument. The third feature is the blue progression which is the form of the combination between tonic(I), subdominant(IV), and dominant(V) chords. It is usually arranged as: I- / IV- I- / V- I-. Another characteristic is that the timbre of the vocals in blues have a wide varieties. Every single piece of blue music features a different kind of vocal texture. The rhythm in the blues has a characteristic called "swung" which means the long-short pattern of the rhythm. In all three pieces of music, the blue note and the blue chorus are applied to the composition. The "bent" texture of the pitch and the neat separation of the lyrics can be easily notice in the music. The call and response in vocals and instruments, on the other hand, is not so obvious in "Can 't Help Lovin ' Dat Man," but I think, though subtle, it is still there at the end of each line. The rhythm in the "Muleskinner Blues" is more steady instead of the long- short patterned "swung." The "swung" is not so obvious in "Can 't Help Lovin ' Dat Man," either. Overall, there are some standard blue style in all three pieces of music, but we

     The Blues musical move was prominent during the 1920s and '30s, a time known as the Harlem Renaissance. Blues music characteristically told the story of

The term “rhythm and blues” was coined in 1947 by a white man named Jerry Wexler who was a reporter, editor, and writer for Billboard Magazine. The record

In contrast, Blues music originated from southern Mississippi and was first recorded in the 1920s. Blues music is further differentiated from Jazz as it was originally played as a solo using a slide guitar. This is not the case today as it has been modified and adapted by practising artists and utilises complex bands.

Eddie James “Son” House, Jr., an American blues singer and guitarist once stated, "People keep asking me where the blues started and all I can say is that when I was a boy we always was singing in the fields. Not real singing, you know, just hollerin', but we made up our songs about things that was happening to us at the time, and I think that's where the blues started (Cohn, 1993).”

The blues, a uniquely American art form, was born on the dusty street corners of the Deep South in the late 1800s. An evolution of West African music brought to the United States by slaves, created the blues which was a way for black people in the south

2.      The blues first emerged as a distinct type of music in the late-1800s. Spirituals, work songs, seculars, field hollers and arhoolies all had some form of influence on the blues. Early blues were a curious mixture of African cross-rhythms and vocal techniques, Anglo-American melodies and thematic material from fables and folktales, and tales of personal experience on