Tag: blues

Blues To Reggae

Blues To Reggae

Today I’ll chat about Dawn Penn’s 1967 rocksteady hit “You Don’t Love Me No No No”. It was dusted off in the 90s for a career-reviving dancehall remake and more recently nabbed by Beyoncé and Rihanna. You’ve probably heard it.

I love bluesiness and that’s why I’m drawn to this track – from the opening Hendrix chords on. The bluesy sound is a clue to reggae’s hybrid emergence from networks of cultural transmission between Africa, the US, the UK and the Caribbean… and in particular its debt to US r’n’b.

Dawn Penn’s performance in this tune is supremely confident for a teenager, and her blues bends are poisonously gorgeous. The groove is pretty futuristic! Pumping bass and sparse rimclick backbeat, at around 73bpm. The spaciousness and emphasis on rhythm section is harking towards dub reggae (which hadn’t quite been invented yet).

I love the detail of Jackie Mittoo’s piano marking out bars with increasingly higher-register inversions of the tonic minor, e.g. 0:44-0:56. They fix our attention on the second half of the bar where the vocals re-enter. Speaking of which, did you notice the odd amount of bars being marked? It even trips up the bassist at 0:53. What’s up with this song structure?

Penn, in interviews, seems to dispute the songwriting credit she was forced to give to Willie Cobb and Bo Diddley due to similarities with their songs “You Don’t Love Me” (1961) and “She’s Fine, She’s Mine” (1955).

“The Bo Diddley scenario is that they had an issue with Cher with a song named [“She’s Fine, She’s Mine”]. That has nothing to do with “You Don’t Love Me, No, No, No”, you understand? …. That’s what I’m telling you, the music was new, there was no music like that before that music.” – Dawn Penn, interviewed for UnitedReggae.com

“This was the first I’d heard these records, but the royalties were split three ways and some of my payments are still held up today.” – Dawn Penn, interviewed for The Guardian

I suspect the ways blues, reggae, jazz and hip hop build new creations from endlessly reused fragments and themes, are not fairly accomadated by copyright law. It’s also entirely credible that people ripped off Penn, a female artist with little legal or management assistance. And, as I think Ethan Iverson pointed out recently, obscurity about the origin of ideas was a necessary defensive reaction against the music business for black musicians in the US, at least.

All that said, there’s clearly a musical link between Penn’s song, Diddley’s, Cobb’s and also Sonny and Cher’s 1965 rock cover. The intermediate versions between Diddley and Penn’s each added something new: Willie Cobbs came up with the use of the IV7 at the top of the form (it’s obscured in my chart, but the first 4 bars are D7), and also the juxtaposition of Diddley’s wordless wails and lyrics (which Diddley does in separate verses) to create the hook, “Aw aw aw you don’t love me”. Sonny and Cher streamlined the hook’s melody (probably to make their two-part vocal work), providing the crucial b5 to 4 slide.

Here is the bar structure of the first verse of each song/version:
Bo Diddley: (3 + 5), (4 + 5), (4 + 5)
Willie Cobbs: (4 + 5), (4 + 5), (4 + 5)
Sonny and Cher: (4 + 5), (4 + 5), (4 + 5) (I think this is the version Dawn Penn worked off… there were other similar ones in 1965 but by much more obscure bands)
Dawn Penn: (3 + 3), (3 + 4), (4 + 4)

By the way, verse 2 of Bo Diddley’s track also mixes (3 + 5) and (4 + 5), but in different order, so he wasn’t consistent. I think the (3 + 5) sounds good while his (4 + 5) sounds like an awkward hesitation, particularly with lyrics.

Why the odd numbers of bars? Bo Diddley’s blues-based song runs a 2-bar guitar riff twice (which would be expected) and then lets it resolve (not expected) before he goes to the next chord, requiring an extra bar for the resolution. 2 + 2 + 1 = a 5-bar section between all the vocal phrases. Most later versions kept this 5-bar section.

These riffs are very downhome and almost pre-harmonic – they work mostly as rhythmic shapes cycling around to the tonic note. Different notes from their basic pentatonic mode could be easily substituted without losing the driving effect, as indeed is heard in the harmonica in Diddley’s track (which plays E instead of the guitar’s G). Other classic examples of this kind of guitar riff would be “Smokestack Lightning” and “Wang Dang Doodle”.

What I think is the secret behind Penn’s song is that this guitar riff has disappeared, but is still present as an unusual negative shape, i.e. the odd 3 bars of Am before the second “No no no”. Yes, that’s now 3 rather than 5 bars, but it still gives the sensation of letting the groove go round twice and resolve before coming in with the pick-up. (The radically lower rocksteady tempo means a single bar of groove functions as a unit comparable to the 2-bar guitar riff in the other tracks). The switch to 4 bars next time increases the pleasant frustration of being stuck waiting for the pick-up, and also aligns with the 4-bar sections of the upcoming blues-type release section (bars 14-29).

Oh, I almost forgot, there’s another crucial contribution by Jackie Mittoo and that’s the unusual juxtaposition of a dominant IV chord with a minor I chord, in a blues context. I don’t know any other track that does this, but it undeniably works. The minor I chord is idiomatically appropriate for a dark reggae vibe, but the IV7 works best with the blues slide of the hook. (A contemporaneous reggae cover uses IVm if you want to compare.)

“You Don’t Love Me No No No” distills the earlier structures into a mysterious but effective form, both innovative and soaked in tradition. Penn’s lyrical edits – i.e. the substitution of “no no no” for “aw aw aw”, which she says was inspired by church music’s “yes yes yes” refrains – and her combination of the raw bluesy timbrality of the earlier r’n’b vocals with the streamlined melody of Sonny and Cher’s pop version, make for a pop classic. While also being an astounding example of what how “African-American forms were borrowed and set to work in new locations and deliberately reconstructed in novel patterns that did not respect their originators’ proprietary claims” (Paul Gilroy).

I hope to follow up ASAP with a post on imitating the transformation of ideas between versions of this song, as a composing exercise. But I won’t say anything more now to avoid what happened last time, where I wrote two articles on composing and never posted any actual work.

Hope you enjoyed the post!

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A Composing Checklist

A Composing Checklist

In my last post about my project to write a sketch a day, I talked about trying to compose purposely unfinished music, to stimulate players into completing it in performance using their improvisational spark and their knowledge of traditions such as jazz (or reggae, funk etc.). No sooner had I posted it than I figured out an obvious further thought:

That idea of provoking improvised reactions could be part of my composing practice. I could use my own music (or write new music, or use a piece from the repertoire) to stimulate further composing.

Absolutely nothing new in that idea as it stands – it’s called “development” or “contrafact”, or “sampling”. However, I realised that, in my practice, this process should take place using the exact dynamics I’ve been studying all along in this blog: the African and African Diaspora mode of improvised call and response within a groove. That is, the seed idea should groove and my spontaneous reactions should groove along with it. And there should be no limitation to the techniques or technology used – as long as there is this mutual grooving.

For example, I could:

  •  sample an old bass solo, loop the sample and improvise a bassline underneath
  • sequence a drum pattern and improvise chords on top
  • improvise a motivic solo over a standard, then take the best chorus as a melody and re-harmonise it
  • mash up a few cliched blues forms/song skeletons into a new form, then sing blues shapes over my form while playing it on bass to come up with a melody
  • dance to a dubstep mix and then subconsciously copy one of the drumlines (this wasn’t on purpose but it happened!)

The grooving stipulation directly combats my tendency to waste time idly fiddling with variations of a passage. Because now I’m forced to keep strict time as much as possible and also forced to make decisions in time (this is the essence of the jazz concept of “spontaneous composition”, I think).

By the way, such techniques as “jamming along to a recording of yourself” might seem trivial or even indulgent, but actually they bring new and worthwhile challenges. E.g. making a grooving and appealing-sounding recording of yourself!

There’s a subtle but very important function performed by all the examples above. I want to discuss it using a point of reference…. Seeing as my strategies are about finding inciting/provocative seed ideas and then reacting to them, the point of reference will be inciting/provocative gestures in groove music. Seeing as my seed ideas are meant to be beginnings for my creative process, I’ll look at beginning gestures.

Reggae drum intros are a great example of filling in to the top of the form; which is one of two basic options for kicking off a groove – the other being to just play a couple of rounds of the groove without the lead or without the full band. (More on that technique of layering here.) Fills are exciting, I feel, because they give a sense of an impending groove without revealing what it will consist of. Often, I’ve noticed they feature great timbre to convey an instant vibe – a notable feature of those reggae fills, but also found in blues, say:

I believe these gestures are comparable to hip hop snare drops, rap introduction cliches, and myriad rock’n’roll gimmicks. What do all of these do? They inject energy for sure, but also the set up the tempo, the feel (subdivision and microtiming), a vibe, the position of beat one and often a tonal centre!

My intuition is that seed ideas should contain all this info. To go even further, for my purposes (and in accordance with all of the traditions I’ve been talking about), the form is something that should be established in the seed idea – or at least, a clear tonal centre and length of cycle. The reason is that the type of interactive improvising – the “response” of call-and-response – that I’ve been discussing, happens when players can feel the underlying ground or form that they’re navigating.

Anyway, here’s a checklist for composing that I came up with two days ago:

  • Have a relaxed and open mind
  • Start with some technical practice on your instrument
  • All recordings must groove so use a metronome or just play with the fattest of feels
  • Try find a grooving coexistence of old (ground) and new (improv), e.g. improvise on a standard, sing over a bassline you wrote, interlock played improvisation with a tapped bell pattern, etc.
  • Look out for cool physical configurations i.e. unusual hand movements, combinations or instrumental approaches (for me this tends to emerge from technical practice which simultaneously warms up my hands, bores my brain and sharpens my awareness until I impatiently come up with something new)
  • Look out for cool timbre
  • Keep the harmony absolutely simple enough to navigate i.e. so you can visualise how melodic paths fit in the harmony in real time while devoting enough attention to treating them lyrically
  • Try ASAP to find the rhythmic cycle, top of form, feel and tonal centre
  • Feel how the harmony should move, and go with it if it turns out to be something familiar (I wrote an eight-bar section the other day without fully realising that it was “Donna Lee” chords)
  • Keep a notepad and recording tools immediately ready

It’s worked so far, although with the proviso that what comes out mightn’t be as hip as I’d wish for!!

I guess I’ll sign off here. I have more things to say but it’s best I write a few more tunes first. Thanks for reading! And please comment with your strategies for writing music.

Knuckles

Knuckles

This week’s post returns to the theme of music as “the sound of body movement”. I had a few different thoughts about this during the week, and then when I jammed with my band Mescalito, I noticed them influencing my playing.

Years ago I used to be guilty about not practising technique enough. But I’ve managed to change my perspective from hyper-competitiveness, into something more to do with creativity and awareness: i.e. creating improved body motions and becoming aware of details I used to miss.

So I was working on a Mescalito riff at home. I like this kind of practical work, inspired by a workshop from free jazz luminary Frank Gratkowski who said he only practised when he needed to prepare something specific for performance.

I was videoing myself and I noticed a problem in my left hand’s fretting position: the first knuckle of the index straining in towards the neck.

Knuckle
Left side bad, right side good

As you can see, this breaks the smooth curve from elbow to fingertips. After some work I was able to fix this at low tempos.

This is still well below the actual tempo but I’m happy that I’ve got this far – keeping that ideal shape is hard.

The properly curved hand has a much stronger grip. I got an insight from that fact that I hope I can explain to you now.

I wrote already about blues soloing being gestural and kinetic – its expressivity coming from the touch and movement style of the player. My new insight was that this aesthetic of body motion actually explains most characteristics of blues playing; and that these characteristics come from prioritising hand/grip movement over finger/digital movement. That’s why my curved grip is preferable for me – it restricts finger motion somewhat but gives strength to hand movements.

Now, guitarists in the audience are surely protesting that blues, like any other style, always uses both finger and hand movements. But let me give some examples.

pentageneral

  • Most blues lead uses the pentatonic scale, usually in these kind of “box pattern” fingerings (above) that have two notes per string. These melodies therefore only need two fingers, probably index and ring. That’s why Hendrix plays lead with his little finger tucked away under the fingerboard (see him switch to this technique in this video). The two fingers used are then just either ends of an overall hand shape and the overall movements tend to be a rocking of the hand as pressure is alternately applied to each end.
  • Blues vibrato and bends are performed by rocking the hand, either in the air (kind of bouncing the neck up and down) or around the point where the index finger touches the bottom of the neck.
  • Open string figures are a huge part of traditional styles like John Lee Hooker’s. Typically he trills between a fretted note (say E) and an open note (say D), as in this lovely track. The simple gesture of repeatedly tapping the E and releasing it creates the whole melody. This shaking gesture goes through multiple fingers because it’s using grip strength, even though only one finger touches the string. A similar lumping together of the fingers into a gripping unit also happens in bending and vibrato. (This doesn’t mean that there is pointless excess movement, by the way. See how economical JLH is in this live performance.)
  • And one of the deepest parts of the blues guitar tradition is of course slide guitar, in which almost all melodic movement is a perfect analogue of the hand‘s motion along the strings.

These are all common-place observations, but together they form a clear picture for me that explains a lot of what’s special about blues.

This insight inspired me to chase down interesting hand-movements when jamming with Mescalito.

I’m not claiming either of these ideas is great – but I definitely enjoyed the freedom to explore them, knowing that they’re not a cheap trick but have a valid aesthetic of their own.

A funny thing happened in the jam which I believe came partly out of my independence practice.

After twenty minutes of free improv, we started to talk over the music. (Not that we say anything very clever!) The voices sound to me like we’re in an emotionally open state, with more warmth than in a normal conversation. The way I let the bass play on without monitoring it, is from independence practice.

I’m not playing any strict rhythm, it’s true, but the point is I’m letting my hands deal with the bass while my verbal mind is elsewhere. To be precise, I remember keeping a background awareness of the “gentle ascending minor” vibe and letting my hands place it on the beat, as I thought about what I was saying.

As I finish talking (0:19)you can hear my voice get tense, probably because I’m realising that I can’t actually talk and play very well, and Murphy’s answer is tense too. Maybe we’re hearing that the music wants to go somewhere. Out of this tense moment a lovely 7/4 groove suddenly manifests, answering our worries. (Actually I play it over 9 beats first while still talking, then find the 7.)

Similarly, after we laugh about funny guitar noise at 0:28 you can first of all hear a slight deepening of emotional connection in the timbre of the instruments at 0:43, and then a 6/4 kick drum pattern manifests to interact with the 7/4 bassline. Similar to the bass, it actually starts in 8 and then goes to 6. That kind of adjustment by feel is interesting because normally the state of mind that corrects errors is too paranoid to coexist with creativity. Here we’re so relaxed we don’t get hung up on it. By the way, we would never sit down and consciously write a 6 against 7 pattern!

Well that’s a trivial example, but those transitions into creativity remind me of rapper Big L’s switch from talking to rapping, discussed in this article – and also of free jazz where group subconscious decisions transform the music without any planning, miraculously.

I hope I can get deeper into this stuff…. Allowing creativity to emerge from the subconscious while holding onto the groove.

Two related thoughts for another post:

  • those transitions often involve a threatened break in the flow – smoothly navigating breaks is a very deep tradition in jazz and hip hop
  • this kind of “spontaneous composition” is very similar to saying the right/witty/elevating thing in a group conversation where a joke won’t land unless it’s delivered in tune with the group vibe and with perfect timing

Anyway, that’s it for this week. Sorry for the late post. Hope it wasn’t too indulgent! See you soon.

And to finish, here’s Charlie Hunter demonstrating stunning levels of independence in a hard groove context.

Monk’s Powerful Melodies, Part 1

Monk’s Powerful Melodies, Part 1

I gigged some Thelonious Monk tunes last week and remembered how much I love his music. And I’m not alone… one of my bass teachers was playing an all-Monk set in Italy recently – and in the school I was in last year they run a yearly Monk-themed competition.

Today I’ve less transcription than in my last Monk article, but hopefully some nice ideas. I want to explore how Monk balances bright energy emanating from the powerful tonic triad with much darker tones, within a bluesy context.

This immediately reminds me of the binary: “rootedness-displacement” which I heard Vijay Iyer quote from Paul Gilroy. The concept is that a tension between these two properties powers much African-American culture. Some musical examples would be:

  • Time feel – a metronomic pulse is emphasised (rootedness) yet skilled players play ahead of or behind the beat (displacement)
  • Phrasing – a driving beat is made as powerful as possible, yet accents are typically off the beat. In music with underlying rhythms such as clave, many parts play against the rhythm.
  • Blues melody – there is a powerful gravity towards the tonic triad and the root, yet all the expressivity is in deviations – bends and melisma – from the tonic notes.
  • Standard jazz form – 12-bar and 32-bar cycles are an unchanging ground, which yet is constantly challenged via anticipation/delay/substitution of chord changes.

As far as I can make out (here in my white suburb in Ireland…) what’s distinctively African-American is the simultaneous multiple meanings. (The ground-surface dichotomy is from African drumming, I’ve read.) The different possibilities are present, or threaten to be present, at the same time: I7 and IV7 harmonic sounds in blues; ahead and behind the beat in a swing feel; “where beat 1 is” in a polyrhythmic techno piece. Something similar may apply in Signifyin’.

Enough of my usual vague ponderings on black culture! It’s analysis time.

I’ve played this tune since I was a teenager. You can hear why a youngster would like it – it’s extremely catchy and cool-sounding.

Well A
The A section of “Well You Needn’t”

There’s a lot going on here, including a lovely low-register chromatic comping voice (more about that in a bit) and a strong 2-bar syncopation driving the phrase structure. Note the groups of 3 in the concluding phrase.

The bridge shows Monk’s mastery of 32-bar AABA form. It repeats the groups-of-3 idea up a semitone – a seamless connection. The phrase structure (one bar riff followed by one bar rest) and harmonic idea (sequencing up a semitone) are familiar from the A section – although the harmonic rhythm is slower.

Well Bridge
Bridge from “Well You Needn’t”

The B section’s second half is brilliant. The harmonic rhythm suddenly is twice as fast as the A rather than twice as slow (symmetry), and the F to Gb up-a-semitone idea is allowed to continue its movement. This makes an exhilarating sequence of 7 chromatically connected flourishes, which (together with the first two chords of the bridge) sketch out the exact movement of the A section’s low-register counter melody… and then continue past it to land on a Cb, a tritone away from the home key.

All these connective devices create a powerful flow – and perhaps the most important single device is the well-crafted pattern of syncopated accents tying everything together. For instance, the “and of 2” note that ends the bridge melody is the only such accent in the whole piece, forming a peak before the return to A. As I wrote before, Monk is really good at balancing the forces in the final bar before returning to familiar material – the top of a 12-bar blues, or the last A of today’s 32-bar examples.

Charlie Rouse, long-time associate of Monk, also used darkness at peak moments: check the b9 at 2:30 in “Well You Needn’t” on the last bar of the bridge. (I’d love to know the history of this bluesy phrygian sound… Paul Gonsalvez features it in his famous Newport solo.)

The way Monk uses chromaticism in the “Well You Needn’t” bridge is revealing. It is a voice movement away and then towards the 5th (C) of the key. The accelerating harmonic rhythm gives a sensation of exhilarating unleashed energy. At the end there is the gesture of the descending line overshooting its C start point to reach B, a note outside the key. We’ll see this exact concept elsewhere: the momentum of a movement carrying it outside the key at the end of a section. Rouse’ b9 is an example too.

Just to connect this to some past themes and buzzwords… Monk is virtuosically “navigating the form”, he’s using the “hidden energy” trope of black cool, and his music works in metaphors of movement (accelerating, momentum), so that it has “directionality”.

Let’s have a quick look at “Monk’s Dream”, title track of the 1962 album. Now, alas, I’m far from qualified to deal with the beautiful chords that comp the melody. As Vijay Iyer puts it:

“These chord-jewels of his were palpable, physical objects. By this I mean that they took advantage of the physics of sound; they were resonant.”

I’d struggle to get even a doubtful transcription of the chords in “Monk’s Dream”, so I’ll just talk melody.

Dream A
The A Section of “Monk’s Dream”, pathetically lacking in the chords I can’t transcribe

There’s an obvious resemblance to “Well You Needn’t”: the opening tonic arpeggio and the first phrase repeated every two bars with variations.

(I love how Monk’s voicing absorbs the major 7th on beat 1 of the tune into a gorgeous timbral object, so much so that it fits seamlessly in a bluesy tonality.)

The first bars run up and down a distinctive cell that I think of as III minor pentatonic over I (E minor pentatonic over C bass). After reading Origins of the Popular Style by Peter van der Merwe, I’m on the look out for the tendency to emphasise the 3rd and 6th so much that the melody outlines a VI minor or III minor modality against the I major key. “Just Friends” is a great example – the melody is mostly in the relative minor mode (including melodic minor 7 and 6).

The end of the A section involves a chromatic run taking us outside of the key – sound familiar? Like “Well You Needn’t”, the chromaticism seems to fit in between notes of the tonic triad frame. It finishes with a salient b2.

The B section is audacious. It uses the crude directionality of a melody climbing from root to octave – all over a I chord! And, apart from a #4 (part of the idiomatic blues run 3 4 #4 5), only C mixolydian notes are used. So, the only drive comes from the ascending contour and the syncopation.

Dream Bridge
Bridge melody of “Monk’s Dream”

Nothing more is required because of Monk’s adeptness with timbre and call-and-response. Drummer Frankie Dunlop neatly fills the gaps, while gorgeous chords followed by a lovely change from sustain-pedal tremolo to choked staccato tell a story in textures. Notice John Ore’s bassline reverting from 4 notes to 2 notes to the bar in the bridge’s final measure – somehow compensating a bit for the lack of cadential emphasis returning to the A section.

Well it’s nearly time to sign off (and leave some tunes to analyse another time). What did I learn?

Vijay Iyer’s article helped me sum it all up. Monk’s music feels really good pretty much all the time. He deals in groove, flow and sound. His compositions let those things happen. There’s an urgent creativity there, but it never impedes those qualities.

In my last couple of articles I’ve reflected on applying new concepts to my own music. I’ll do that again now.

First lesson: moments of the simplest, strongest possible melody – if the rhythms are hip – can and should be the opposite of corny. More subtly, they can work in an “extended blues” aesthetic that coherently incorporates major-minor ambiguity (i.e. modal interchange), symmetry, and the crunchiest dissonances. And finally, this style of melody should be used as an aid in constructing powerful large-scale shapes (again, with slick rhythm).

More generally, I had a glimpse of an idea, building on my initial investigations into independence, laying back, and gestural playing: what if every musical decision I made was by feel, by awareness of body sensations/embodied knowledge?

That’s a wide-ranging thought, and it reminds me of Vijay Iyer saying that the heritage of great jazz contains “codes for transformation: of yourself, your community, and your surroundings”.

Thanks for reading! Have a good week.

What I Learned from Hollering Blues for an Hour

What I Learned from Hollering Blues for an Hour

Last week I mentioned my growing interest in the kind of melodies I might naturally sing. So I decided to sit down (in a soundproofed area) and record myself singing freely.

I soon realised there were no original “natural” melodies inside me waiting to be mystically released. Everything I sang was familiar. I ended up using one basic pentatonic melodic skeleton:

Blues Singing Skeleton 1

Which tended to grow into something like this:

Blues Singing Skeleton 2

What “I felt like singing” turned out to be often unnotateable: blues material relying on fast, gliding ornaments, flexible pitch areas and emphasis on overtones.

What’s more, these effects were all highly reliant on the physicality of my voice, i.e. they combined:

  • switching between head, throat and chest voice
  • use of vocal fry (growling)
  • yodelling-type leaps
  • nasal tone
  • humming
  • breathiness

I’m no singer of course, but if you’re curious what I was sounding like here’s a fragment:

My conclusion – and this is a familiar theme here – it’s just as meaningful to understand these blues phrases as body movements (i.e. in your throat, lungs and mouth) than as melodies.

That’s all very well to say, but the nice thing about doing this exercise just once is that I can feel a new awareness of this physical basis. When I was singing I imitated some familiar sounds: John Lee Hooker’s “hey hey”s and Andy Bey’s hiccup-y pentatonic noodlings. Now I know how those sounds feel to perform.

Also, since doing the exercise, melodic fragments have been coming spontaneously to my mind together with an impression of how they feel to sing. Seeing as melody has been a weak point for me in the past, it’s cool to have little ideas springing to mind fully formed (heard and felt) like that.

It was also nice to grapple a bit with the different registers of the voice. That’s a singer’s bread and butter, but it was novel for me to feel different parts of the blues scale as inhabiting different registers of my voice, e.g. everything above the octave was in my head voice when singing in B, and I could use this to create breaks and yodels.

I noticed one really interesting thing trying to sing these blues phrases. A lot of the mannerisms I’m imitating clearly signify emotion: wails, groans, fall-offs. However, to make them work, they have to be practised till they’re in muscle memory. So they’re practised patterns and not spontaneous outbreaks.

This invalidates the (completely patronising) myth that blues was a direct, naive expression of the pain of the black folk. Emotions in blues are only as sincerely felt as an actor’s performance. Although the performer may completely inhabit the persona, he/she can snap out of it at will.

This explains how ostensibly depressive blues has always been party music. The performer makes a game of its seemingly dark emotions – ambiguously either lampooning them them through exaggeration and stylisation, or seriously inhabiting them. Weariness, sickness, defeat are turned into stylisms subject to slick manipulation. Thus, the bluesman or woman can both conquer them and yield to them. (Albert Murray makes a similar point in Stomping The Blues.) That keeping-in-tension of alternate mindstates recalls Dubois’ “Double Consciousness”. (African Americans’ survival ability to simultaneously navigate white and black cultural values.)

The use of dark emotions has sometimes confused outsider fans of black music. For example, in the awesome slide-guitar blues I discussed a few weeks ago, by white rockers Canned Heat, we can hear singer (and blues collector) Bob Hite call for a “real quiet and ghostly” vibe from the band. This phrase comes from a white record collector tradition of interpreting deep blues as “eerie”, “ghostly” or “weird”. But performers like Skip James, Tommy Johnson or Robert Johnson – who did indeed use wailing, plangent sounds and sing about death and the devil – did not think of their songs in these terms, as far as I know. To them it was probably mostly about sex: “sinful music” was its well-documented reputation.

I think certain rappers in more recent decades generated a similar confusion. For example, Big L’s lyrics seem depraved and appalling on their own terms. However, in context, I believe they were mostly a stylistic innovation to keep Big L ahead of the competition.

Well, this week’s post was mostly just re-emphasising some ideas. But this kind of thing helps me form my artistic direction. For example, if I was to start a new art music project now (say along the lines of my old band Nature) I would immediately ask myself – should the vocal lines be notateable as written music? Or is there another way to create them that would suit me and the singer better, and afford more expressivity in the areas I like? Or, for instance, why not base the melody around the singer’s range, using the breaks between registers as part of the music? And why feel the need to deviate from one mode/scale? What if I wrote write in my key, and then transposed so that the same effects happen in the singer’s preferred key?

Interesting stuff. Pretty basic too, of course, but trying to sing for myself hammered it all home nicely!

Encountering Some Trad

Encountering Some Trad

For the first time in my life I’ve been checking out some Irish traditional music. It’s something I know sweet nothing about. (Meaning you get a mercifully brief post today.)

So far I’ve really enjoyed it. I thought I’d give my jazz/bluesman’s thoughts on a couple of pieces I’ve worked on.

This all ties in with the awesome book I reviewed recently, van der Merwe’s Origins Of The Popular Style. After reading it I’m primed to find unexpected resemblances between Irish and African-American music. Van der Merwe opened my mind to how constant and complex interchanges between African, British and Irish cultures were the backdrop for the development of blues in the US. That book also put me in the mood for simple, modal melodies.

The first thing I liked about trad was that it’s dance music played with “metronomic” pulse, i.e. without the expressive tempo alterations of Western classical music. So, it grooves.

As well as that, I heard time feels that were triplet-based and exploited the flexibility of triplets. In jazz, a “swing 8ths” jazz feel can encompass placements of the off-beat varying from almost in the middle of the beat to right at the end. In a similarly physical way (by physical I mean deriving from the movements of playing the instrument), the different phrases of this piece lean differently against the steady beat, depending on how complex a figure is being fit into each beat (2 or 3 notes, or much more when trills and ornaments are used):

At this slow tempo, the piece has a ceremonial and martial feel befitting the title. The fanfare-like phrase at 0:20-0:25, and the overall use of a mixolydian mode, evokes “natural horn” instruments that can only play overtones of a single note.

(The King of Laois referred to, by the way, is the Irish nobleman Rory O’Moore who, after the violent destruction of his clan, led a rebellion against the English Crown in 1641.)

The mixolydian mode, distinguished from a major scale by its use of a flattened seventh note, is common in Irish trad. That flattened seventh, and in particular its use as a plaintive high note is common to blues, English folk song and Irish trad. You can hear it a 0:58 in this pretty tune by famous 70s Irish folk band Planxty.

Notice how the accompanying chord is an F, bVII in the key of G major. The chord after is a C, the IV of the key, with an A melody note. The chord progression F C gives a more “modal” feeling than the other possibility, G7 C, which would be strongly “functional”.

I’m honestly completely ignorant as to the history of chordal accompaniment in this tradition. Nowadays it’s part of the standard trad session format. But it’s clear that the melodies are by far more important, and they’re what has come down the centuries. Not all of them are modal, though. This awesome little piece is clearly harmonically oriented.

Tying back to what I said earlier, again there are varieties of triplet feel: compare the percussive start of the phrase at 0:33 with the smoother triplet at 0:35. The former has the first two notes shortened and the third lengthened, while the latter is more rhythmically even. I won’t start pontificating about a style I’m ignorant of, but these kinds of subtleties clearly add to the lilt and groove of the tune. Nicely played, anonymous Youtube whistle guy.

But I was talking about harmony. The second strain at 0:22, for instance, sketches a clear I V I V harmony. Interestingly the cell outlining the first V chord starts with B, the 6th of the key and the 9th of the implied A7 (or A9) chord. Another interesting implication is the II- we hear from the low E at 0:07. Very simple stuff, of course. But clearly the writer understood basic chord progressions and upper structures. I can’t find info on Google but I’ve heard this tune is 200 years old.

It sounds silly to say, but in a way this music reminds me of bebop! Not in its mood or texture, but in its construction from blocks (typically either arpeggios or diatonic cells like 3 4 3 1 or 6 5 6 8), use of interspersed triplets and sixteenths (often generated by turns/trills) and outlining of syncopations by accenting notes (for example a high note) within a steady stream of swung notes.

Also, the “fractal” aspect that Steve Coleman finds in Charlie Parker’s music, whereby strongly melodic movements are found at different levels of scale, is present here: the first note of each bar could be isolated into a completely coherent melody of its own.

I enjoyed discovering these tunes. These days, I feel I’m homing in on my preferred melodic style after many, many years of believing that I would discover it in some advanced harmonic concept. Actually, it’s been under my nose all this time: I like modal melodies and melodies with simple, strong harmonic implications. This kind of thing, say:

Somehow, the idea that I should try write or work with the sort of melodies I enjoy or naturally sing has taken a long time to filter into my head! I think it’s almost impossible to go through jazz education without acquiring a prejudice in favour of complex or systematic melodies (i.e. derived from symmetry, synthetic scales, bitonality, or what-have-you). But at the end of the day, only your inner melodic ear – the part that responds natively to melody – can tell you what sounds good.

I’m not writing jazz at the moment, but I think when I return to it I’ll have a much stronger idea of what materials to work with than ever before.

Anyway! Hope you enjoyed my naive dip into Irish trad. Here I am trying to play “Pat Ward’s Jig”. I was pleased to find that all the hours I’ve spent in my life noodling blues lines meant that I was able to approximate some of the beautiful ornaments that characterise this style. (Of course, this is trifling compared to the art of a trad musician who has studied an entire system and aesthetic of ornamentation.)

And here’s the proper version I based mine on.

See you next time! Please comment if you’ve any thoughts, whether about Irish music or about developing and discovering your own melodic style.

Blues Parallelism

Blues Parallelism

Ever since last year when it clicked that parallel chord movements are probably an essential part of blues, I’ve been working them into my bass style. As a musical force, parallelism is probably familiar to jazz listeners from the style of guitarists like Wes Montgomery. Check out his playing from 4:16 in this iconic performance.

What I’ve been trying to do relates very much to jazz guitar and even more so blues guitar traditions. I remember how refreshing it was to hear Simon Jermyn once point out that bass guitar and guitar are closely related instruments. Rather than model my approach on double bass or synth bass, I’ve often taken guitaristic paths in my playing. So, to my mind, the parallel chord movements I’ll look at today are completely native to fretted bass guitar.

“Parallel”, for anyone unfamiliar with the term, means that each new chord has the exact same inner structure (distance between its component notes) as the one before, but starting in a different place. So, each note moves in “parallel” with the others to reach the corresponding notes in the new chord.

The reason this is native to guitar and bass guitar, is that you can form a chord shape, and then easily slide the whole shape up or down to make a new chord. (You’ll see it in the solo I do at the end of the post.)

The first time I really noticed parallelism was in electro house tracks with basslines doubled in major 10ths. Remember this one?

But, actually, since childhood I’ve loved hearing blues slide guitar which is built on completely parallel “open-tuned” chords sliding up and down. Guys like the hippy blues savant Alan Wilson (seriously check out that magnificent performance by his band Canned Heat!) or George Thorogood.

Not all chord shapes are equal for this application. The strongest shapes are those that resemble part of the overtone series. This similarity causes the notes to interact and buzz. Gerhard Kubik calls acoustically resonant chords like this “timbre-harmonic clusters”.

D Harmonics to 11th

So, the first interval (counting up from the bottom note) in the series is the octave. Wes Montgomery is famous for his use of parallel octaves, for example at 2:50 in the first video above. But I don’t particularly like the sound of them on bass. This is partly due to the lack of a satisfying way of sounding them – Wes strums them with a muted string between the root and octave, but that doesn’t work for me. Also, they don’t achieve that chiming sound in the bass’s register.

The next interval is the perfect 5th found between the second and third harmonics (D and G). This one is, again, completely guitaristic – the “power chord” of rock and metal. As an interesting demonstration of a distinctive resonance, if you play a power chord on bass or guitar with distortion, a strong difference tone an octave below appears.

(Sorry for the poor sound quality by the way – I’ve upgraded my microphone but forgot to plug it in here.)

Without distortion, the phenomenon is much weaker, but still noticeable as an extra fatness/bassiness at gigging volume levels. (Actually I think that’s due to the slight distortion in the preamp stage of my amp.) So I do use power chords sometimes at gigs to augment a simple bassline.

Okay so some quick thoughts on the use of the other intervals available… 4ths are very buzzy and strong, and obviously easy to play on an instrument tuned in fourths. Major 3rds are strident and bright, sometimes overwhelmingly so, but it can be used for some parallel cliches. In particular, the blues scale fragment b5 4 b3 can be harmonised a major 3rd away by b7 6 5, another bluesy cell.

Another interval I use a lot is the 10th – it’s good for “prog house” or “electro house” sounds. One interesting thing about lines consistently harmonised in major 10ths is that it becomes unclear whether the top or bottom note is the “main” one, despite the fact that a single 10th interval definitely sounds like the root is the bottom note. Try it!

Minor 3rds are a flexible interval for parallel cliches, and I wrote an article about one of those. Major 6ths are used in the classic blues chromatic descending run, but can also be extended into half-whole diminished sounds like Scott Henderson’s. Minor 6ths basically can work as the 3rd and octave of a dominant chord or its 2nd and b7th. Minor 7ths sound good but can only really function as the 1st and b7th or the 3rd and 9th of a dominant chord. So minor 7th and minor 6th parallelisms in blues are basically targeting these landing points.

An interesting larger shape is one using the fourth, seventh and ninth harmonics, which ends up as a root, minor 7th and 9th (a dominant 9th with no 3rd or 5th):

9th no 3rd no 5th

This shape has a lovely resonance. Other 3-note shapes that are nice for parallelism are the 3rd inversion of a major triad (fourth on the bottom) and 2nd inversion of a minor triad (fourth on top). These are both particularly compact shapes on bass. And of course the skeletal dominant 7th, 1st 3rd b7th.

I busted a blues solo using many of these shapes in parallel movement. Have a listen and let me know what you think! I’ve timelined the appearance of different chord/interval types below.

0:02 6th

0:06 minor 3rd

0:12 minor 6th

0:22 dominant 7th (no 5th)

0:27 minor 7th

0:31 major 3rd

0:47 4th

1:02 major 10th

1:08 dominant 9th (no 3rd no 5th)

Thanks for reading/watching!