May 19, 2012

Blue, R&B and Rock Music

What is the Blues and do you know what it is when you hear it? What is R&B (Rhythm and Blues)? How does it all differ from Rock music? They all are distinct musical styles that, in fact, fuse together.

Blues. The blues has been attributed to a music genre created mainly in African-American communities in the South. It is characterized by what is called a twelve-bar blues where the chord progression is the first, fourth and fifth chord or note in the key.

There are many branches of the blues, Chicago blues, delta blues and swamp blues being some of them. The blues can probably be called the father of R&B and Rock Music. The music can best be characterized by the music of Robert Johnson, Muddy Waters and B.B. King.

The blues is even found in orchestral works such as George Gershwin’s “Rhapsody in Blues” and “Concerto in F”.

R & B. In its simplest form, is blues with an up-speed tempo. Also called race music, the term was coined in 1948. Two of the performers and tunes who exemplified R&B in the 50s were Little Richard (Tutti Fruti, Long Tall Sally, and Lucille) and Chuck Berry (Johnny B. Goode and Roll Over Beethoven), although his distinctive guitar made his interpretation closer to what became rock music.

Rock Music. The person who straddled the line best between R&B and Rock was probably Elvis Presley. His recording of the old blues tune, “Hound Dog” might be considered one of the first rock and roll tunes. However, the song that is generally credited as being the first is “Rock Around the Clock” recorded in 1954 by Bill Haley and the Comets.

When the Beatles came along, they freely admitted that much of the influence behind their music was Chuck Berry and Elvis.

Concerts can make a great part of a vacation, try a concert on the beach in Florida. A Florida vacation rental is all you need to partake in great concert activities.

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What Makes a Musical Group Function?

Whether you are in an orchestra, an a cappella group or a 60s tribute band, the dynamics when you put two or more musicians in a situation where they have to make music together, it can make for well… beautiful music, smoldering resentment or raging battles.

So, what are the key ingredients needed to make a musical group function?

The Music- It is always better if the people in the group like the same music. For example, if you have a band that plays horn music like Motown, or Chicago, they might not want to learn Led Zeppelin. In a repertoire of 100 or so tunes, deviations can work but all members must agree to them.

Egos- Music displays egos as well as provides the chance for beautiful teamwork, something like a basketball team. The members need to be mature enough to know when to express themselves and selfless enough to know when lay back and let a fellow member shine.

Mission- All group members need to agree on a plan for the band. Are you playing for fun? Do you want to get paid gigs? Do you want to jam? For example, if you want to get paid gigs, then make sure all of the members know that and act together toward achieving that goal.

Roles- It is good to know what role each member will play in the group. For example, maybe one person focuses on gigs, another makes sure the equipment is functioning and yet another creates the playlist. It is best if the role each person plays is something they want to do and are good at.

Behavior- An endeavor like a musical group works if everyone respects each other. This means speaking in respectful tones, coming on time for rehearsal and making sure that you chip in where needed if any purchases are necessary.

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The Future of Classical Music – Who’ll be the new masters?

Who might they be, the new Tchaikovskys, Beethovens, Mozarts and Bachs of our 21st century? Who will be the new celebrated masters?

If you look at the body of classic Rock possibilities alone, its easy to recognize that many insightful composers of the mid-20th century have contributed significant works that will undoubtedly earn them an enduring place in music history. Hopefully these composers will be judged on artistic merit and musical substance, and not merely the pop-marketing achievements of the companies who record and distribute their music.

Record sales weren’t the determining factor in Mozart’s day. Back then, it was more about original ink on the page, and the readiness of good musicians educated enough to translate and play what was written – and do it before a live audience. Only an aristocrat could afford to offer guests such entertainment thrills as a quartet, an orchestra, a singer, an instrumentalist, a virtuoso. A composer had to be prolific enough to consistently create fresh work to feed the clamoring sophisticate’s insatiable appetite for musical entertainment The privilege of listening to music, let alone dancing to it, was a decadent pastime afforded only to the wealthy.

For what the digital age of recording technology may have taken away from live entertainment, it gives back by making great music available to the multitudes at an affordable price, but at what cost? Some insist there’s been a remarkable lull in compositional worthiness since the end of the 19th century. Could modern-day composers be overly fixated on digital enhancement at the mercy of creative substance?

Historically, there have always been stagnant periods when it seemed musical society was holding its breath in anticipation of a fresh new wave. We may be decades away from the next age of cultural re-birth and re-invention, a time when discriminating musicians will re-popularize the scent of wood instruments and the feel of strings. It’s exciting to consider a future when young musicians will celebrate the classical value of Gershwyn, Hendrix, George Martin, Bob Dylan, and Pink Floyd, dubbing “The Wall” to be another in an illustrious trail of great operas.