124:
1656:
1644:
1632:
951:. Ellis, Alexander John, 1814-1890. (Second English edition, translated thoroughly revised and corrected, rendered conformal to the 4th (and last) German ed. of 1877, with numerous additional notes and a new additional appendix bringing down information to 1885, and especially adapted to the use of music students by Alexander J. Ellis ed.). New York.
438:
The blues has likely evolved as a fusion of an
African just intonation scale with European 12-tone musical instruments and harmony. The result has been a uniquely American music which is still widely practiced in its original form and is at the foundation of another genre,
245:) and perceiving tonal music. In the harmonic series, overtones of a fundamental tonic tone occur as integer multiples of the tonic frequency. It is therefore convenient to express musical intervals in this system as integer ratios (e.g.
98:, either upward or downward. Again, this may be a microtonal, almost imperceptible affair, or it may be a slur between notes a semitone apart, so that there is actually not one blue note but two. A blue note may even be marked by a microtonal
265:= perfect fifth, etc.). The relationship between just and equal temperament tuning is conveniently expressed using the 12-tone equal temperament cents system. Just intonation is common in music of other cultures such as the
435:). The just intonation blue note intervals identified above all involve prime numbers not equally divisible by 2 or 3. Prime-number harmonics greater than 3 are all perceptually different from 12-tone equal temperament notes.
820:
330:
The blue "lowered fifth" has been found to be quite separate from the perfect fifth and clusters with the perfect fourth with which it is commonly slurred. This "raised fourth" is most commonly expressed at
312:
in just intonation, or a slightly sharp minor third in equal temperament) based on cluster analysis of a large number of blue notes from early blues recordings. This note is commonly slurred with a
174:
has "an inherent minor tonality, it is commonly 'forced' over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities". A similar conflict occurs between the notes of the
425:
It should not be surprising that blue notes are not represented accurately in the 12-tone equal temperament system, which is made up of a cycle of very slightly flattened perfect fifths (i.e.
94:
intervals, neither major nor minor. On the other hand, the lowering may be by a full semitone—as it must be, of course, on keyboard instruments. It may involve a
277:
field hollers of
African slaves, it would be expected that its notes would be of just intonation origin closely related to the musical scales of western Africa.
327:(386 cents) in what Temperley et al. refer to as a "neutral third". This bending or glide between the two tones is an essential characteristic of the blues.
241:. Humans naturally learn the harmonic series as infants. This is essential for many auditory activities such as understanding speech (see
729:
602:
548:
733:
606:
552:
1806:
487:
1143:
273:. In African cultures, just intonation scales are the norm rather than the exception. As the blues appears to have derived from
78:
Like the blues in general, the blue notes can mean many things. One quality that they all have in common, however, is that they are
355:
or 551 cents) as put forward by Kubik and Curry is also possible as it is in the middle of the slur between the perfect fourth at
1694:
1161:
1014:
194:
In the case of the lowered third over the root (or the lowered seventh over the dominant), the resulting chord is a neutral
412:. The barbershop quartet idiom also appears to have arisen from African American origins. It was a surprising finding that
111:
1605:
956:
923:
792:
Kubik, G. (2008). Bourdon, blue notes, and pentatonicism in the blues: An
Africanist perspective. In D. Evans (Ed.),
705:
656:
578:
524:
1177:
Abbott, Lynn (1992). ""Play That Barber Shop Chord": A Case for the
African-American Origin of Barbershop Harmony".
82:
than one would expect, classically speaking. But this flatness may take several forms. On the one hand, it may be a
1247:
1890:
989:
631:
184:
106:. The degrees of the mode treated in this way are, in order of frequency, the third, seventh, fifth, and sixth.
1796:
1222:(New York: Oxford University Press, 1968), pp. 46–52). Cited in Benward & Saker (2003), p. 39.
422:
was a much more common tonal location although both were used in the blues, sometimes within the same song.
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871:"Two Approaches to Tonal Space in the Music of Muddy Waters: Two Approaches to Tonal Space"
270:
266:
221:. Bent or "blue notes", called in Ireland "long notes", play a vital part in Irish music.
8:
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821:"Blues music theory and the songs of Robert Johnson: ladder, level and chromatic cycle"
764:
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218:
916:
Origins of the popular style : the antecedents of twentieth-century popular music
647:, pp. 52–54. London: Lawrence & Wishart. Cited in Middleton, Richard (1990/2002).
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On the sensations of tone as a physiological basis for the theory of music
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All Blues
Soloing for Jazz Guitar: Scales, Licks, Concepts & Choruses
314:
309:
176:
171:
156:
62:
1124:
768:
747:
Kubik, Gerhard (2005). "The
African Matrix in Jazz Harmonic Practices".
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that—for expressive purposes—is sung or played at a slightly different
229:
Music theorists have long speculated that blue notes are intervals of
1771:
95:
1190:
1833:
1516:
378:
The blue "lowered seventh" appears to have two common locations at
170:. The lowered fifth is also known as the raised fourth. Though the
66:
237:. Just intonation musical intervals derive directly from the
1756:
1521:
573:(2nd ed.). Chapel Hill: University of North Carolina Press.
242:
1108:"Mediant mixture and "blue notes" in rock: An exploratory study"
517:
Big road blues : tradition and creativity in the folk blues
298:
tone. It has recently been found empirically to center at
27:
Note sung or played at a slightly different pitch than standard
1506:
1256:
202:
46:
1703:
571:
Early downhome blues : a musical and cultural analysis
440:
42:
1067:"Microtonal Analysis of "Blue Notes" and the Blues Scale"
1225:
280:
The blue "lowered third" has been speculated to be from
490:. How To Play Blues Guitar. 2008-07-06. Archived from
179:
and the minor blues scale, as heard in songs such as "
1043:
Savannah syncopators: African retentions in the blues
61:
from standard. Typically the alteration is between a
69:, but this varies depending on the musical context.
700:. Jackson, Miss.: University Press of Mississippi.
794:Ramblin’ on my mind: New perspectives on the blues
408:as it is commonly heard in the barbershop quartet
1702:
1935:
1688:
1241:
1220:Early Jazz: Its Roots and Musical Development
913:
1009:. Chicago: The University of Chicago Press.
728:: CS1 maint: multiple names: authors list (
601:: CS1 maint: multiple names: authors list (
547:: CS1 maint: multiple names: authors list (
519:. Berkeley: University of California Press.
982:Introduction to the Study of Musical Scales
1695:
1681:
1248:
1234:
732:) CS1 maint: numeric names: authors list (
618:
616:
605:) CS1 maint: numeric names: authors list (
551:) CS1 maint: numeric names: authors list (
155:The blue notes are usually said to be the
1154:10.1093/acprof:oso/9780195116724.001.0001
1123:
1105:
1082:
800:Urbana, IL: University of Illinois Press.
480:
224:
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651:. Philadelphia: Open University Press.
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398:(1018 cents). Kubik and Curry proposed
14:
1936:
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984:. Oriental Book Reprint Corporation.
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271:22-tone Indian classical music scale
217:". Blue notes are also prevalent in
205:songs, in jazz, and in conventional
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569:Titon, Jeff Todd, 1943- (1994).
235:12-tone equal temperament tuning
209:with a "blue" feeling, such as
1170:
1099:
1065:Cutting, Court B (2019-01-17).
998:
973:
940:
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696:Kubik, Gerhard, 1934- (1999).
662:
637:
13:
1:
1797:Electroacoustic improvisation
914:Van der Merwe, Peter (1989).
473:
90:or so. Here one may speak of
1142:Averill, Gage (2003-02-20).
918:. Oxford : Clarendon Press.
749:Black Music Research Journal
515:Evans, David, 1944- (1982).
201:Blue notes are used in many
116:Origins of the Popular Style
7:
1148:. Oxford University Press.
1071:Empirical Musicology Review
673:. www.celticguitarmusic.com
446:
36:Blue Notes (disambiguation)
10:
1975:
233:not derived from European
32:Blue note (disambiguation)
29:
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1106:Temperley, David (2017).
1084:10.18061/emr.v13i1-2.6316
837:10.1017/S0261143015000276
294:) to 350 cents above the
1606:Blues musicians by genre
1306:Traditional blues verses
980:Danielou, Alain (1999).
947:Helmholtz, Hermann von.
1045:. London: Studio Vista.
1007:Theory of African music
1005:Kubik, Gerhard (2010).
181:Why Don't You Do Right?
1145:Four Parts, No Waiting
649:Studying Popular Music
622:Ferguson, Jim (1999).
410:harmonic seventh chord
225:Theory and measurement
152:
127:Blue notes (in blue):
121:
1296:Musical improvisation
1041:Oliver, Paul (1970).
643:Lloyd, A. L. (1967).
126:
76:
1727:Backdoor progression
698:Africa and the blues
645:Folk Song in England
267:17-tone Arabic scale
102:of a kind common in
30:For other uses, see
1352:American folk music
1125:10.30535/mto.23.1.7
1112:Music Theory Online
869:Curry, Ben (2017).
819:Curry, Ben (2015).
112:Peter van der Merwe
73:Origins and meaning
1856:Jazz improvisation
1802:Free improvisation
1787:Constant structure
1767:Chord-scale system
890:10.1111/musa.12084
219:English folk music
153:
1931:
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1762:Call and response
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1286:Call and response
1216:Schuller, Gunther
1163:978-0-19-511672-4
1016:978-0-226-45690-4
671:"Irish Harmonica"
343:eleventh harmonic
341:(583 cents). The
196:mixed third chord
16:(Redirected from
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1959:Jazz terminology
1918:Twelve-bar blues
1777:Coltrane changes
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189:Sweet About Me
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104:Oriental music
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1911:Tadd Dameron
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1742:Bird changes
1659:
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1485:Hill country
1397:Hill country
1375:Desert blues
1316:Walking bass
1276:Blues ballad
1270:
1264:Musical form
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884:(1): 37–58.
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496:. Retrieved
492:the original
488:"Blue Notes"
482:
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211:Harold Arlen
200:
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88:quarter-tone
86:affair of a
77:
50:
40:
1896:Syncopation
1839:Jam session
1819:Harmolodics
1747:Block chord
1737:Bebop scale
1661:Blues songs
1553:Boogie rock
1548:Biker metal
1424:New Zealand
1407:New Orleans
1281:Blues scale
796:(pp. 11–48)
315:major third
310:minor third
177:minor scale
172:blues scale
63:quartertone
1938:Categories
1901:Turnaround
1876:Polyrhythm
1861:Lead sheet
1844:Jazz chord
1792:Contrafact
1722:Avoid note
1543:Blues rock
1449:West Coast
1347:Work songs
1342:Spirituals
991:8170690986
677:2008-11-04
632:0786642858
498:2008-07-06
474:References
275:a cappella
255:= octave,
84:microtonal
18:Blue notes
1772:Chordioid
1752:Blue note
1458:Subgenres
1402:Louisiana
1271:Blue note
1093:1559-5749
1025:457769452
898:126072443
853:145765888
845:0261-1430
761:0276-3605
724:cite book
626:, p. 20.
597:cite book
543:cite book
51:blue note
1834:Jam band
1649:Category
1517:Jug band
1497:Electric
1429:Piedmont
1361:Regional
1301:Shuffles
934:18071070
769:30039290
716:44959610
589:29909597
447:See also
269:and the
148:♭
142:♭
136:♯
130:♭
118:, p. 119
114:(1989),
109:—
67:semitone
1871:Outside
1849:So What
1824:Harmony
1782:Comping
1757:Cadenza
1522:Skiffle
1475:Country
1419:Memphis
1387:Chicago
1332:Origins
1325:Origins
1199:3051597
535:6197930
430:⁄
417:⁄
403:⁄
393:⁄
383:⁄
370:⁄
360:⁄
350:⁄
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322:⁄
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285:⁄
260:⁄
250:⁄
243:formant
187:" and "
92:neutral
1906:ii-V-I
1814:Groove
1707:theory
1570:Gospel
1512:Holler
1439:Turkey
1382:Canada
1370:Africa
1363:styles
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345:(i.e.
163:, and
65:and a
1954:Blues
1891:Swing
1886:Scale
1594:Lists
1507:Hokum
1492:Dirty
1480:Delta
1434:Texas
1412:Swamp
1392:Delta
1257:Blues
1195:JSTOR
894:S2CID
874:(PDF)
849:S2CID
765:JSTOR
296:tonic
292:cents
290:(267
203:blues
185:Happy
100:shake
96:glide
80:lower
59:pitch
53:is a
47:blues
1829:Head
1807:List
1709:and
1704:Jazz
1580:Soul
1575:Jump
1558:Punk
1158:ISBN
1089:ISSN
1021:OCLC
1011:ISBN
986:ISBN
963:OCLC
953:ISBN
930:OCLC
920:ISBN
841:ISSN
757:ISSN
734:link
730:link
712:OCLC
702:ISBN
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365:and
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