Anson Funderburgh and his group have been performing since the late seventies blending a mixture of Mississippi Delta Blues with Texas funk. Sam Meyers intensified the influence of the delta blues when he joined the band in the eighties. Sam Meyers, age 63 is legally blind and a diabetic, brings a deep bluesy voice to the band that combines the basic blues progression with Texas funk to form an unique style of rhythm and blues. The group appeared not to favor any particular period as their set ranged from the basic blues AAB form to a fast paced funk, and a blues style rock. The group is comprised of: Anson Funderburgh on lead guitar.
Other famous musicians at this time period were Blind Lemon Jefferson, Lead belly, and Memphis Minnie. Furthermore, the birth of Rhythm and Blues, which included genres such as Gospel music, Doo Wop, Spirituals, Chicago Blues, and Urban Blues. African Americans migrated to cities and collaborated music and formed groups. The rhythm section included: bass, drums, electric guitar and piano. Some great Urban Blues musicians were T-Bone Walker and B.B.
The two chromatic notes [notes not in the original key] of a sharpened 4th and a flattened 7th appear in both keys, and the vocal melody ends on the flattened 7th of D major [C natural]. The augmented 4th interval [forming a tritone] is used frequently in West side Story. The flattened 7th is a blue note [the influence from jazz]. The harmony is tonal, but the chords contain added 6th,7ths, 9ths and 11ths. There is a dramatic neopolitan chord [the flattened supertonic- Eb major 1st inversion] in bar 95.
Some musicians which he has influenced are: Eric Clapton, Robert Plant, and ZZ Top (Kirkpatrick 50). Clapton had previously said, “Muddy took the music of the Delta plantation, transplanted it in a Chicago nightclub, surrounded it in a electric band, and changed the course of popular music forever” (qtd. in Kirkpatrick 50-51). The styles of both the Blues and the nearly synonymous Gospels are practically interchangeable; Blues songs can be transformed into Gospel songs and vice versa. With that being said, both styles have their own sounds and meanings (Mississippi Blues Commission).
This section is based upon the repeated quaver motif taken from bar 45 with the motif played only in the string section (bars 138-140). A descending Eb major scale is played in bar 143 to end the 2nd section and take us into the 3rd section of the development. The 3rd section (bar 144-160) features another
The seven modes that the Greeks developed each used their own tonic note which is a note that is flattened or sharpened in order to make the mode sound Minor or Major. As a result, each mode has its own unique sound. During the Greek times when the seven modes were developed, they each got their name from the region or group of people from which they came from. The regions from which they came from were located throughout Italy, Turkey, and Greece. Each Greek mode can be played in different keys, so therefore, there are twelve versions of each mode and each are used in the many common forms of Jazz music and Jazz improvisation Each mode however uses different tonic notes.
Religion, language, and government in Texas are three other themes that can be identified in throughout the constitutions. Examining the characteristics of the seven constitutions can help identify the similarities and differences between them. Slavery in the Texas Constitutions One common theme of the seven constitutions of Texas is slavery and how it was influenced through the constitutions. In the beginning, 1827, slavery was not recognized. The constitution of 1836 legally allowed slavery in the state of Texas and by 1845 when the constitution was once again revised, Texas was admitted as a slave state.
The second section, B (measures 65-164), contain themes three, four, and five. Theme three transitions in to A minor and presents a Hungarian rhythm, which greatly contrasts with the rest of the movement. Theme four is also in a minor key, then it transitions to F major by the fifth theme. These themes used in this section repeatedly, giving the section a developmental feel. Measures 165 to 308 make up the third episode of the movement.
In the harmony we have a minor triad on the 6th and 5th degree, also a harmonic device used a lot in gospel music. On the 9th bar Miles plays the major seventh, Cannonball the 4th,Coltrane doubles Miles an octave lower and the rhythm section plays a dominant chord on the 5th. This voicing is then three times transposed and they end up playing on the eleventh bar the same voicing with the flat six on top, which means the rhythm section is playing a dominant chord on the flat seventh, which then resolves back to one after two bars and which is a substitution of a very gospel like chord change, 4 minor to
The difference between these two styles involves artists, major composition and influence. Through these three areas, the development of ragtime and blues greatly affect the revolution of jazz. The individual experience of artists can both affect and reflect the main characteristics of a music style. Ragtime dominated American popular music for nearly two decade from 1890s to 1910s. During this period, Scott Joplin, noticed as the most influential pianist to ragtime, was born into a typical Africa-American family in Northeast Texas, whose father had been a slave.