|
|
| Controlled movement of music in time, usually into a defined repeated pattern |
|
|
|
| • The speed of the rhythm of music (fast, slow, etc.). Tempo is measured in beat per minute (bpm) |
|
|
|
| • The organizational grouping of beats into groups. Rock musicians typically organize rhythm into groups of three or four beats (4 is most common) |
|
|
|
• an individual group of beats. Also called a bar
|X X X X|X X X X| = two bars
1 2 3 4|1 2 3 4 |
|
|
|
| • A combination of notes sounding simultaneously |
|
|
|
| • Three or more notes sounded together. Three notes together called a triad |
|
|
|
| • A succession of notes arranged to create a musical shape, one note at a time. Also called a tune |
|
|
|
• The tonal quality of sound. Also called simply tone.
o Tone valued by rock musicians is often different than that valued by classical musicians (i.e. distortion) |
|
|
|
• Short, repeated musical idea
o Often “hooks” of song |
|
|
|
• The organizational structure of a piece of music based on repetition, contrast, & variation
• Common forms in rock music include:
o 12-bar blue – A standard progression of chords which evolved among blues musicians. One 12-bar section is sometimes called a “chorus”
o Strophic form – Each verse of text is sung to the same musical tone (like a church hymn)
o Verse/Chorus form – alternating sections of music. Verse lyrics typically change from verse to verse; chorus lyrics usually repeat. |
|
|
|
• The organizational structure of a piece of music based on repetition, contrast, & variation
• Common forms in rock music include:
o 12-bar blue – A standard progression of chords which evolved among blues musicians. One 12-bar section is sometimes called a “chorus”
o Strophic form – Each verse of text is sung to the same musical tone (like a church hymn)
o Verse/Chorus form – alternating sections of music. Verse lyrics typically change from verse to verse; chorus lyrics usually repeat. |
|
|
|
• A hard-driving version of electric blues (often incorporating jazz & gospel influences too) being played in cities like Chicago beginning in the 1940s
• This was by far the biggest influence on early rock music
• Important artists: Muddy Waters, Howlin’ Wolf, Louis Jordan
• Starting in 1920s, so-called “race records” were distributed by independent companies to primarily Afro-American audience
• Many early rock pioneers came from tradition |
|
|
|
• Before the mid-50s, mostly a regional phenomenon (South, SW, and Midwest US)
• The Grad Ole Opry was the most powerful and influential C&W radio show
• Important artists: Hank Williams, Gene Autry, Hank Snow, Ernest Tubb
• Independent labels usually distributed “hillbilly” records, but sometimes major record companies would pick big artists |
|
|
|
• “Tin Pan Alley” tradition of professional songwriters in NYC
• Important artists: Frank Sinatra, Tony Bennett, Nat “King” Cole
• Dominated by a few major record labels: RCA, Victor, Columbia, Capitol, Mercury, and Decca
• Oriented towards adults, not teenagers |
|
| Jackie Brenston, “Rocket 88” |
|
• Generally agreed to be the first recorded rock song
o Distorted guitar
o Loud drums
o Subject – fast car
• Brenston was the lead singer of Ike Turner’s band
• Recorded with Sam Phillips, future head of Sun Records in Memphis
• 12-bar blues form |
|
|
|
• Most commonly used chords in rock music
• Triads based of the 1st, 4th and 5th notes of a scale (think do, fa & so)
• Roman numerals used to minimize confusion among classical and jazz musicians, since numbers are also used to describe beats, bars, and extra notes in a chord!
• The famous “Nashville Number System” used today by studio musicians on Music Row is based on same concept but is written in Arabic numerals |
|
|
|
| Beats (4 per bar)
Bar# 1-2-3-4 |2-2-3-4 |3-2-3-4|4(etc.)
Chord I |I |I |I
Hire a custom writer who has experience.
It's time for you to submit amazing papers!
order now
5 |6 |7 |8
IV |IV |I |I
9
V |
|
Big Joe Turner
“Shake, Rattle & Roll” |
|
• 12-bar blues form
• Typical early rock instrumentation
• Turner’s career bridged jump blues, R&B, boogie woogie, and rock
• Known for “shouting” style and risque lyrics and performances
• Rockabilly musician Bill Haley’s cleaned up lyrics to “Shake, Rattle & Roll” which became an early rock & roll hit |
|
| Typical Early Rock Instrumentation |
|
• Drum kit
• Bass (acoustic upright bass, electric later on)
o Drums+bass=rhythm section
• Electric guitar
• Horns (usually saxophone, sometimes trumpet and trombone)
• Piano
• Later on 4 piece band became standard |
|
|
|
• Ride cymbal
• Floor tom (tom-tom drum)
• Kick drum (aka bass drum)
• Rack tom
• Crash cymbal
• Hi-hat cymbal
• Snare drum |
|
|
|
• Ride cymbal
• Floor tom (tom-tom drum)
• Kick drum (aka bass drum)
• Rack tom
• Crash cymbal
• Hi-hat cymbal
• Snare drum |
|
|
|
• Acoustic (upright)
• Electric |
|
|
|
• Two major manufacturers
o Fender
• Made the first mass-produced, solid-body, electric guitars
• Leo Fender, founder
o Gibson
• Designer/musician Les Paul
• built the first solid-body electric guitar in 1946 and eventually worked for Gibson |
|
Ruth Brown
“Mama, He Treats Your Daughter Mean” |
|
• Verse/Chorus form
• Vocal Style influenced Little Richard
• Along w/ Fats Domino, one of first R stars to get radio airplay from white DJs
• Teenagers like Elvis Presley heard this music on stations in the South
• Tambourine and vocal style reflect gospel influence |
|
Little Richard
“Tutti Frutti” |
|
• “The Architect” of rock and roll
• B. Richard Penniman
• Wild, flamboyant stage shows
• Left rock music twice to become a preacher
• Verse/Chorus structure; each chorus is a 12-bar blues |
|
Chuck Berry
“Johnny B Goode” |
|
• Along w/ little Richard, crossed bridge from R to rock & roll
• Style influenced by country music
• Hugely important guitar style (“double-stops”)
• Listen for rhythm and lead guitar
• Great lyricist
• “Duck walked” across stage
• Verse/Chorus form, but both are 12-bar blue |
|
|
|
• Early 50s began programming R songs
• “Moondog Rock ‘n’ Roll House Party”
• In 1954 landed nighttime spot on NYC station
• White teen audience |
|
| Technology & Rock Music in the 1950s |
|
• Television
o Freed up airwave space for R programming
• Radio
o Teens used portable transistor radios and car radios & became exposed to new music
• Film
o Teen-oriented movies (Blackboard Jungle featuring Bill Haley’s “Rock around the Clock”) |
|
| Social Changes in the 1950s |
|
• 1954 Brown vs. the Board of education of Topeka Supreme Court decision banned segregation in public schools
• A booming economy meant teens had extra money to spend on records & concerts, which begin to integrate
• Racist backlash against rock music
• Music industry organized against independent labels and black artists |
|
|
|
• Represented trend: major label white artists covering independent releases by black artists
• “Vanilla Versions” often sold in much larger numbers than the originals
• Boone was the only one many white artists who recorded tamer versions of rock songs |
|
Ray Charles
“What’d I Say” |
|
• “The Genius”
• Combined gospel, R, and jazz in career which spanned decades
-R hits in 50s
-Pioneer of 60s soul music
• Call and response vocal parts
• Electric piano (Wurlitzer)
• 12-bar blues |
|
Antoine “Fats” Domino
“Blueberry hill” |
|
• R star who crossed over to pop charts
• More refined, restrained performer than Little Richard & Chuck Berry
• Song in triple meter
• Form reflects pop, classic Tin Pan Alley influence
-Contrasting A and B sections
-AABA is a common Tin Pan Alley structure |
|
|
|
• Real name Ellas McDaniel
-stage name given by Leonard Chess (Chess Records)
• “The Bo Diddley Beat” is a Latin clave pattern
• Iconoclastic artist
• Loose structure; only one chord used throughout
• Listen to distortion, tremolo effect on guitar
• Strong influence on later rockers, especially British bands like Rolling Stones |
|
|
|
• Real name Ellas McDaniel
-stage name given by Leonard Chess (Chess Records)
• “The Bo Diddley Beat” is a Latin clave pattern
• Iconoclastic artist
• Loose structure; only one chord used throughout
• Listen to distortion, tremolo effect on guitar
• Strong influence on later rockers, especially British bands like Rolling Stones |
|
Bill Haley & The Comets
“Rock Around The Clock” |
|
• First major “crossover” radio hit (C band, R song, #1 on pop radio)
• Predates Elvis in his incorporation of R elements
• After intro, 12 bar blue form – probably based on suggestive Joe Turner song
• Appeared in film Blackboard Jungle, about teenaged delinquents |
|
|
|
• The most important figure in rock music history, and arguably in all of 20th century American popular music
• Actively fused country music and R
• Popularized rock & roll on an international level
• Until Elvis, everyone thought rock & roll would be a short-lived fad
• Recorded in rockabilly, gospel, pop styles |
|
| The “Million-Dollar Quartet” |
|
• L to R: Jerry Lee Lewis, Carl Perkins, Elvis Presley, Johnny Cash
• All Sun Records artists |
|
Big Mama Thornton
“Hound Dog” |
|
• Written by white songwriters Jerry Lieber & Mike Stoller
• R star
• Raspy, distorted vocal style used later by hard rock singers
• 12-bar blues |
|
|
|
• Heard a lounge singer’s version of this song, not Big Mama Thornton’s
• The B-side of this RCA release, “Don’t Be Cruel” |
|
| “The King” has an unrivaled place in rock history |
|
• Brought rock into mainstream culture & paved the way for musicians that followed
• Charted the most songs in the top 100
• Spent the most weeks at the top of the charts
• Sold the most multi-platinum, platinum, and gold records – 250 million toal
• His legend continues |
|
|
|
• Television: Numerous appearances contributed to the complete domination of singles charts in mid to late 50s – the Ed Sullivan show was seen by 1 in 3 Americans
• Radio: New Top 40 format helped fuel Elvis’ rise
• Film: Manager Col. Tom Parker proved to be a marketing genius, negotiated numerous Hollywood contracts for Elvis |
|
| After the initial rise to fame… |
|
• Inducted into the army in 1958. After return in 1960, music became more subdued
• Broadened fan base by projecting a clean-cut image
• Made 31 feature films in Hollywood
• Spent money lavishly, buying cars, homes (incl. Graceland), gifts, etc.
• Married Priscilla 1967
• 1968 Comeback Special marked a return to his rock roots and live performing |
|
|
|
• The “Memphis Mafia” were constant companions throughout career
• The Jordanaires – white gospel group from Nashville who recorded background vocals on many later Elvis records
• Drug problems led to increasingly bizarre behavior & mood swings
• Fascination with karate inspired the famous lateera stage moves
• Continued Vegas shows to the end of his life |
|
Elvis Presley
“Suspicious Minds” |
|
• Was #1 hit in 1969, when charts were typically dominated by other rock styles
• Although plagued by drug problems, continued success
• 1973 TV special “Aloha From Hawaii” was the first satellite broadcast and was watched by more people than the first landing on the moon |
|
Carl Perkins
“Blue Suede Shoes” |
|
• Like many early rockabilly artists, came from very poor family
• Car crash interrupted career
• Musical style, especially guitar playing, was a huge influence on later artists like the Beatles
• 12 bar blues form |
|
Jerry Lee Lewis
“Whole Lotta Shakin’ Goin’ On” |
|
• “The Killer”
• Pianist who was heavily influenced by gospel and black R
• In 1957, this song reached #1 on C and R charts and #3 on pop charts
• 12 bar blues |
|
Gene Vincent & The Blue Caps
“Be-bop-alula” |
|
• This song was his first record
• Note exaggerated “echo” effect
• Career continued in UK and Europe after rockabilly faded in the US
• Influenced the Beatles & Jim Morrison (Doors) who adopted his leather-clad image
• Verse/Chorus form, but choruses and guitar solos are 12 bar blue |
|
The Everly Brothers
“Bye Bye Love” |
|
• Don & Phil Everly were the songs of country music stars
• Country-style harmonies (in tradition of brother duos) w/ R influence
• Combined rock, country, & pop
• Verse/Chorus structure |
|
Buddy Holly & the Crickets
“Peggy Sue” |
|
• B. Lubbock, TX
• Wrote most of his own material
o AABA structure of this song reflects Tin Pan Alley influence
• Influential rhythmic guitar style & 4-piece band lineup
• Trademark “hiccup” singing style
• Beatles took their name from the Crickets |
|
Roy Orbison
“Only the Lonely” |
|
• B. Vernon, TX
• Started as C performer
• Vocal technique & use of orchestra string section were unique
• Songs covered by a wide range of artists
• ABAC structure – another classic Tin Pan Alley form |
|
The End Of An Era, or… The Day the Music Died
By 1959… |
|
• Elvis Presley – drafted
• Little Richard – became a preacher
• Chuck Berry – legal trouble involving underage white girl
• Jerry Lee Lewis – PR trouble (married his underage cousin)
• Buddy Holly, Richie Valens, Big Bopper – died in a plane crash
• Car crash killed Eddie Cochran & destroyed Gene Vincent’s career |
|
|
|
• The wild days of rock & roll seemed to be over
o Personal misfortunes of 1st generation of rockers
o Backlash against rock music by parents’ groups, racist groups, the mainstream music industry, and the government
• Between approximately 1959 and 1964 (when the Beatles invaded America), rock music became more polished, sedate, pop-oriented, and dominated by teen idols |
|
The Penguins
“Earth Angel” |
|
• Doo-wop
o Style w/ emphasis on vocal harmonies
o Originated on street corners in NYC & Philadelphia (Penguins were from LA)
o Influenced generations of black artists (more recently, Boyz II Men)
• Sparse recording, emphasis on the vocals
• I – vi – IV – V chord progression, AABA form |
|
|
|
• Teen idol
• Wrote “My Way” – a hit for Frank Sinatra & Elvis Presley
• Also wrote hits for Buddy Holly, Annette Funicello & Donny Osmond
• This song was written about his babysitter
• I – vi – IV – V chord progression, AABA form |
|
Johnny Mathis
“Chances Are” |
|
• #1 hit in 1957
• Pop crooner (carried on tradition typified by Nat Kind Cole & Bing Crosby)
• 1958 Greatest Hits compilation stayed on Billboard album charts for almost ten years
• AABA form |
|
Dick Clark
“American Bandstand” |
|
• TV show premiered in 1957 airing from Philadelphia
• Teenage girls in particular responded
• Brought a respectability to rock that didn’t exist with the rockabllies
• Fueled teen idol and dance crazes
• Survived 1959-60 payola investigations |
|
Chubby Checker
“The Twist” |
|
• Stage name inspired by Fats Domino
• Released 1960
• Eventually sold 70 million singles
• Exemplified dance crazes of late 50s & early 60s
• 12-bar blues
• Strong backbeat – snare hits on beats 2 and 4 |
|
| Changes in the Music Industry – late 1950s |
|
• Record sales skyrocketed, many sold through mail-order clubs and supermarkets
• Independent rock & roll radio stations were bought by chains who played Top 40 format nationwide
• Radio, which had lost adult audience to TV, was reinvigorated
• FTC payola investigations in 1959-1960 |
|
|
|
o Music publisher who cornered the teen market in the early 60s
o Hired teams of MYC songwriters who composed Tin Pan Alley-type songs for doo-wop & girl groups |
|
|
|
o Home of music publishers since the Tin Pan Alley era (early 20th century)
o Songwriters included Carole King, who had a successful solo career in 1970s |
|
The Shirelles
“Will You Still Love Me Tomorrow” |
|
• Exemplified “Girl Group” phenomenon
• This song was the first #1 hit by an all-female group
• Sweet, polished image
• Precursor of later groups like the Supremes
• Written by Carole King & Gerry Goffin for Don Kirshner & went #1 |
|
|
|
• Sisters Ronnie & Estelle Bennett, and cousin Nedra Talley
• Discovered by Phil Spector, producer, who married Ronnie
• Tough-girl image: dark eye makeup, huge beehive hairdos, tight skirts
• Listen for dense texture – many instruments, background vocals, etc. |
|
| Phil Spector’s “Wall of Sound” |
|
• Term used to describe Spector’s recording technique
o Dense instrumentation
o Multiple “overdubs”
• Worked in L.A. with regular group of session musicians
• Produced Beatles’ Let It Be album (the only one not produced by George Martin)
• Was living in seclusion by age 30 (1969) |
|
|
|
• Millions of Americans migrated to California after WWII, drawn by booming economy
• Surfing is an ancient sport in Hawaii – came to CA at the turn of the last century
• Surf music (developed by guitarist Dick Dale) glorified the idealized southern CA lifestyle: girls, fast cars, sun fun, surfing |
|
|
|
• Originator of surf music
• One of most influential guitar players of early 1960s
• Recorded mostly instrumentals like this one
• Used in film Pulp Fiction
• Listen for reverb effect on guitar, fast picking technique
• Tune originated in Middle East |
|
The Beach Boys
“Good Vibrations” |
|
• Brian Wilson, creative leader of group, greatly admired Phil Spector
• 1966 Pet Sounds album a milestone which spurred the Beatles to write Sgt. Pepper
• Elaborate studio work
o Use of Theremin
o Key changes, complicated song form, sophisticated arrangement |
|
| Roots of 1960s Folk Music Trend |
|
• Traditional Appalachian folk music (“old-time music”)
o Descended from English, Irish, & Scottish song traditions
o Played on stringed instruments (banjo, guitar, violin)
• Alan Lomax & Harry Smith recordings of diverse folk forms (Delta blues, Appalachian hillbilly music, etc.) influenced a generation of musicians
• 1940s: Almanac Singers formed by Pete Seeger & Woody Guthrie, two godfathers of the folk movement
• Seeger’s band The Weavers “Goodnight Irene” (written by bluesman Leadbelly) a hit in 1949. Career ended by McCarthy-era blacklist |
|
Woody Guthrie
“This Land Is Your Land” |
|
• Grew up in Oklahoma, moved to California during Depression
o Observing poverty of the migrating Dust Bowl-era “Okies” influenced him greatly
• Fused music and political activism
o Outspoken leftist social critic – also blacklisted during McCarthy era
o Bob Dylan’s hero, inspiration to 60s folkies
• This is his best-known song, written 1940
o Strophic form typical of folk music
o Originally a protest song |
|
Peter, Paul & Mary
“If I Had A Hammer” |
|
• Written by Pete Seeger during his time in the Weavers
• Represented gentle version of college campus-oriented counterculture movement which began with beatniks in 1950s
• Serious, earnest lyrics
• Political activism connected to music
• Folk elements: strophic song form, non-distorted vocals, downplay of rhythm (no backbeat), LP (album) instead of 45 (single) – oriented |
|
|
|
• Democratic administrations (Presidents Kennedy, Johnson), political assassinations
• Civil Rights movement and legislation
o Began with movement to end radical segregation & discrimination
o Expanded to women’s rights, gay rights
• Vietnam War protest & rebellion against military draft
• Environmentalist movement
• Sexual revolution
• Music was an integral part of the social movements of the day (protest songs, soul music, etc.) |
|
Bob Dylan
“The Times They Are A-Changin” |
|
• B. Robert Zimmerman
• Began career as solo folk musician in Greenwich Village, NYC (guitar & harmonica)
• Signed to Columbia Records by John Hammond
• Championed by Joan Baez early in career
• This early song (1964) has a strophic form |
|