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English: Music and lyrics of the song "Good Morning to All", with third verse "Happy Birthday to You", printed in 1912 in Beginners book of Songs with instructions unauthorized publication, which do not credit Hill’s 1893 melody.
Many blues songs were developed in American folk music traditions and individual songwriters are sometimes unidentified. [1] Blues historian Gerard Herzhaft noted: In the case of very old blues songs, there is the constant recourse to oral tradition that conveyed the tune and even the song itself while at the same time evolving for several decades.
Song structure is the arrangement of a song, [1] and is a part of the songwriting process. It is typically sectional, which uses repeating forms in songs.Common piece-level musical forms for vocal music include bar form, 32-bar form, verse–chorus form, ternary form, strophic form, and the 12-bar blues.
Eight-bar blues progressions have more variations than the more rigidly defined twelve bar format. The move to the IV chord usually happens at bar 3 (as opposed to 5 in twelve bar); however, "the I chord moving to the V chord right away, in the second measure, is a characteristic of the eight-bar blues."
The Piedmont blues was named after the Piedmont plateau region, on the East Coast of the United States from about Richmond, Virginia to Atlanta, Georgia.Piedmont blues musicians come from this area, as well as Maryland, Delaware, West Virginia, Pennsylvania and northern Florida, western South Carolina, central North Carolina, eastern Tennessee, Kentucky, and Alabama – later the Northeastern ...
The songwriting for "Farther Up the Road" is credited to Joe Medwick Veasey, a Houston-area independent songwriter/broker, and Duke Records owner Don Robey.In an interview, blues singer Johnny Copeland claimed he and Medwick wrote the song in one night; Medwick then sold it the next day to Robey, with Robey taking Copeland's songwriting credit. [3]
Country blues ran parallel to urban blues, which was popular in cities. [2] Historian Elijah Wald notes many similarities between blues, bluegrass, and country & western styles with roots in the American south. [3] Record labels in the 1920s and 1930s carefully segregated musicians and defined styles for racially targeted audiences. [4]
The root movement of the V−IV−I cadential formula found in the blues is considered nontraditional from the standpoint of Western harmony. [7] The motion of the V−IV−I cadence has been considered "backward," [2] as, in traditional harmony, the subdominant normally prepares for the dominant which then has a strong tendency to resolve to the tonic.