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The art of producing and recording Music
THE BLUES AND AFRICAN ROOTS
By: Lynn Griffith, March 20.2007
While no one disputes that the blues is rooted in Africa and came from African Americans, the direct connection to African music is not immediately obvious. There is, after all, not one style of African music, but many, varying by region and village. While the human race itself began in Africa, it has been said that a lack of navigable rivers reduced travel and interaction between African tribes, leading to the diversity of language, culture and music on the continent. Slaves were not kidnapped from all of Africa, but generally from coastal West Africa. Here, there is a long history of Griots, or solo musicians that would entertain in the community.
Slaves were imported for approximately 300 years into the new world. Upon arrival, they were often promptly separated from their families and tribe members. Much of their African culture was taken away from them. Slave owners were afraid things such as drumming could contain secret messages, which could lead to revolt, so they forbade it. Hence, the forced residents of the new world lost much of their culture over time. Additionally, several generations passed between the time of the abolition of slavery and of development of what we know as blues. I have played and recorded several slave songs, and I wouldn’t call them bluesy at all. There are no flatted thirds or sevenths, and the chord changes and timing are a little bit counterintuitive to my white, western ears. At the same time, the music is fascinating, though rather haunting to play.
The rhymed couplets that make up the lyrics of what we know as blues music today originated in the field hollers and work songs, often on southern plantations. Call and response songs were used to lift the spirits of the workers, to communicate instructions and feelings and to help the workers get through their days of hard physical labor. While you can hear echoes of blues rhythms in the music of sub-Saharan Africa, many blues rhythms likely developed from slaves digging, pounding, chopping and hammering to build railroads, etc.
In addition to drums, stringed musical instruments in many cases have their origins in Africa, including the banjo, which was initially made from animal skins stretched over a dried gourd, with sticks for a neck and gut strings. The banjo was a primary instrument of the slaves, and similar instruments are still handmade in Africa today. Some African music uses a pentatonic scale, which has a few notes in common with the also pentatonic blues scale, though there are differences. Most modern African music has little in common with American blues, though you can hear hints now and then.
The blues music of the early twentieth century also contains references to African beliefs and superstitions, including the devil and witchcraft. When the early bluesmen sang about how badly their women treated them, it was often a veiled reference to bad treatment by their bosses. The African Americans couldn’t openly complain about such things, but they could encode it in song.
Another interesting reference is the oft-used blues line about how when a woman walks, she shakes like a wattle tree. This is often morphed into willow or wild oak trees in some versions, but neither willows nor wild oak trees shake appreciably. The wattle trees are species of acacia, native to Africa and Australia. Their seedpods are flat, and they shake and rattle on the windy plains of the Africa Savannah. The links to African roots in the blues is subtle, but they are there and for me that makes it even more fascinating.
Striving for Excellence
By Patti Gamble
Everyone strives for excellence. Very few are excellent in their own endeavors. Musicians pursue excellence. They think what they do is never good enough. This is a sign of a true artist. Musicians pay a high price in this endeavor. Most musicians strive to be the very best at all they play. The emotions that music can stir has always been of interest to most. Even without words, music evokes feelings. The blues is the most emotional music written or played. Most would agree to this.
Music ability extends, for some, to playing an instrument, turning on the radio or listening to others play. Some read music, understand theory and have the ability to hear music in their head, some do, some don't. Musician's families saw to this education and they have paid a high price. Time, and money they sometimes did not have, or money they could have used for something they wanted or needed for themselves. Does this ring a bell?
Music is basically math, this is how we are taught. It is very logical, so logical in fact, that many law schools will choose a music major ahead of a political science major or business major, most of the time, because they know that accomplished musicians have learned to think, precisely, and exercise extreme self discipline Musicians practice, practice. That is what musicians do--practice, every day sometimes for hours on end. There is no other way to achieve excellence, and the person who follows this routine will be extremely disciplined. This is a fact.
Young musicians do not always get the respect they deserve. Sport players at football or basketball games, get the most because they bring in revenue. Who was in the band, no one remembers. However, the band probably put in more hours of practice then the sports team, but the band does not receive the respect they are due. Yet, without the band, there really is no game. Young musicians are paid poorly, because they are unknown, but they work, and buy equipment that is expensive, and some clubs want to give them a percentage of the door take. This is an outrage. Same thing with seasoned musicians. A lifetime of work for so little pay. Not Cool!
Musicians are dedicated. Some work by day as nurses, painters, carpenter, accountants, therapists and many other jobs to make a community survive. Then they give of themselves for hours at night to entertain us.
They should be paid their just desserts! Something to think about....
Perfect Pitch
By Patti Gamble
You are not born with perfect pitch. So how then, do you explain that when a band calls a tune in B, some players do not have to be told, their ear brings them to the key. This is a constant wonder. Tones and chords come to some by listening.
Perfect pitch is acquired by playing and training your ear. You can learn pitch at any age. This is learned by association. Red ball, red color, then hearing a key brings the key of B to your mind by listening-----association. Your eye sees colors of light, your ear hears pitches. Simple in many ways, yet some never get this theory.
Musical tones have pitch colors, this is musical sound quality. Sounds difficult, it really is not. Most people learn visual qualities and do not learn sound qualities. Watch the new movie, "Ray". Ray Charles was blinded at age 7, but his ears took over for what his eyes could not longer do. He developed his ear.
It is easy to hear a sound or note when it is high or low. Well trained musicians can hear an F from an F#. Non musicians are amazed by this. We know it, as talent.
If a child of 10 plays only one song well, and the child of 10 sitting next to him can not play anything, the first child is of course talented, an has started to develop his ear.
Regardless of what instrument is played, there is always a subtle difference in sound between an F and an F#. Your ear can hear this. You just have to know what to listen for, and most importantly, with instruction that is basic, you can recognize these differences directly. You can listen for keys, and harmonies, and also intonations. This is the master key most good musicians know for the entire musical language.
All music is composed of these pitches. Some musicians pick up on this skill at an early age. Some are actually gifted in pitch.
Those few have stumbled onto a priceless talent without outside assistance. With correct instructions you can open your ear.
Perfect pitch is natural musical perfection.
Being In Sync
by Patti Gamble
Looking at the elements of music, we always talk about notes and beats. However, the life's blood of music is it's syncopation.
Syncopation is troublesome for some folks. A drummer can be totally in sync, or a drummer can be the one who pulls the whole band down, or up for that matter. Nevertheless, when people dance, they can't dance to these ups and downs. The band members get confused if out of sync.
Syncopation is a long and confusing word to some . Troublesome to others.
You must be hip, not meaning to sound corny, to this word, syncopation.
Syncopation is a huge part of musical life. Depending on your age, and musical style, you've probably played hundreds, if not thousands of examples of syncopation. Your ear already knows the score. It all goes back to the beat. This is the steady pulse that provides the basics for the music we hold dear.
Like the ticking of a clock, or even a metronome, the beat should be solid, steady, and predictable. This is the normal grouping of beats, be they , two, three or four. Always look for a steady down beat, which is usually on the first beat of the measure.
Using this theory, people that write music, can use different notes to create melodies, over a steady beat with different rhythm patterns.
Clap your hands to four beats and tap your foot to four beats at the same time, this is an example for the beginner to understand syncopation.
Doing this right on the beat is predictable. You will not stay interested too long. Some music is written too do just this. Some very serious music is considered desirable, correct, and if overdone can be boring.
"It don't mean a thing if it ain 't got that swing." Swing and syncopation are interchangeable.
We don't want music to sound too stuffy and boring. To help keep music from doing just this is to use rock, jazz, classical and religious uses of syncopation to help keep the melody swinging!
By Shifting the rhythm patterns we create syncopation. This is THE LAW!!
Accented notes not following the exact beat is what this is about to create a more interesting sound. Sidestep the downbeat, and you've got the idea.
Holding The Hammers
by Patti Gamble
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Why Write about the vibraphone? It is rarely seen, rarely used out and about these days. That's a fact. However, the few that are around are used in certain settings still. Lately, some people, have shown more interest.
What is a good set of vibes? Like all instruments there are favorites, this is true with vibes. Light in comparison, the Musser " One Nighter" Vibe, used by the famous Lionel Hampton, is one of the lighter weight instruments and has a classic, true vibe sound.
There are a few technical aspects about vibes. Vibraphones have a motor. This pulls a small belt that drives the pulsation shafts to produce a floating sound which is a vibrato. This is not a feature on the marimba or xylophone. Vibes are metal alloy, lifetime tuned, have resonators, are arched and seamless and have great projection, although can be miked. A multi-directional mike is the best. The pedal is a sustain feature used much like that on a piano. There are similarities to the marimba and xylo, but some very different aspects, which is another story, and each of these instruments is played differently.Some vibes sound " tinny." This, obviously, is not the quality to look for when purchasing a vibraphone. The best sound is full, rich, mellow and deep sounding ones, any with thinner bars do not give rich tones. Short octaves limit the player, the usual is a vibe with three full octaves with wide bars for tone.Vibes are hardly ever a rock instrument, but is very versatile. Night clubs, dinner music, weddings, and banquets are the usual fare. You can play vibes loud, you can play soft, the musician is in control of the volume. The music can be "sweet" to the ear, and intonations should be allowed.The weight of a vibraphone is a deciding feature. They weigh anywhere from 65 to 132 pounds. A marimba can be as much as 260 pounds, because are usually made of Rosewood or an alloy, as is the same for a xylo. A variable speed attachment is available for vibes for added effects.
A drummer who plays vibes will do nicely, because knowing percussion gives you a far greater ability to perform rolls and many interesting effects.Lessons on vibes are few and far between, If you know a piano teacher, this works well, but if you are fortunate to go to an accredited school of music you are more fortunate.When playing, hold the mallets loosely as excessive tight gripping does not enable freedom of arms or flexibility and wrists should be relaxed.When using the peddle, when dampener is up, the notes are "closed", when the pedal is down, the notes are sustained. Practice goes into knowing the peddle action so chords or notes do not run together, or carry over.
Two, three or four mallets can be used at one time, or raised individually to create chords or effects. Single strokes are executed from hand to hand, alternate smoothly and rapidly for the time duration required by the notation in the music. Short grip of mallets is used for up tempo music. Using two mallets in one hand takes practice, the mallets are held one, between the thumb and first finger, the other between the third and fourth finger so opening and closing the chord range is accomplished and for varied effects.
Mallets are made of rubber, plastic, metal, wood or cord. The sticks are made of rattan or fiberglass, which is more balanced and has strong striking qualities, or birch which is very firm. Mallets are numbered and graduated for hard or soft sound. These can be covered with string, cord or wool, either done by machine or by hand,
Most producers of these types of percussion instruments have merged wish drum companies, such as Ludwig/Musser and Slingerland/Deagan. These are the other brands/companies that also produce these quality instruments.
The weight of these instruments is one reason they are not as popular as say, a guitar or trumpet. You have to have a vehicle that will carry it. The vibraphone, however, is a unique instrument and is a musical wonder and masterpiece.
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