Sam Myers’ vocals gave an impression of a deep bluesy feel that has spanned different genres of music. A couple of the songs had the readily apparent AAB form with the expected fill-ins at the end of each verse. Other songs felt like rhythm and blues or a rock style jazz providing many opportunities for varying length solos by all band members. Funderburgh and Myers’ slide harmonica did the most prominent solos. The slide harmonica solos conjured up a real “bluesy” feeling regardless of the tempo of the song and adding blues notes when needed.
These Ballads were the foundation and root of the Cajun music we hear today. A ballad is defined as a narrative song describing or telling a story in a sequence of events that had tremendous meaning to the author or lyricist. In the beginning the French bands were generally mixed with different races until one Caucasian woman handed a Creole accordionist; Amede Ardoin her handkerchief to wipe down his sweaty face. After that, they pounded him to the point of no return and he ended up in a mental institution where he eventually died several years later. Cajun and Creole music were very similar.
Africans suffered severely while in America because of the heavy workloads that slavery brought. In order to pass time during the days work, Africans would sing songs. These songs were also sung to escape from the hardships that slavery brought; including the master or other Africans they were interested in. Workers would sometimes make the songs up relating them to people in the bible who were brought through hard times by praying to God. Some of these people were Moses, Jonah, and Jacob, all from the Old Testament.
The African American Vernacular Traditions were created centuries ago and are still used until this day. African American Vernacular Traditions originated when slaves were still existent in the eighteenth and nineteenth century. African Americans began to start to sing, believe in gospels and spiritual songs since the early days of slavery. In the nineteenth century, slaves would sing these religious songs, while at work, while resting, and during gatherings. The only way the slaves could try to form positive attitudes towards their lives were through song.
The piece is tonally ambiguous at the beginning of the piece but there are hints of it being in E minor but doesn't become clear until the bass guitars come in and then you can tell that the piece is in E minor. He three chord progressions used are C, Bm and E5, C, D and Em and C, D and Bm. At the start of section B the key switches to C minor and continues to change alternatively with the intervals in between getting shorter until the Coda where it stays in E minor until the end. The piece is in binary form (AB) and has 4 sections within the A and B sections. The piece begin monophonically with the live guitar playing a one bar ostinato.
There is the acoustic country blues and the electrified city blues. Three distinctive regional styles-Delta, Piedmont, and Texas blues--evolved into three urban styles: Chicago, East Coast, and West Coast. The blues has two basic musical forms. One form follows a basic A-A-B pattern. The performer sings a verse and then repeats the first line, sometimes with some variation.
The motif is introduced in the live guitar and also in guitars 1-4, this creates a canon. The parts are often imitative. There is a new idea of strummed chords which starts in bar 36. Tonality. At the start of the piece there is tonal ambiguity and it is not obvious that the key is in E minor until the bass guitars enter.
Son is the slowest of all the rhythms. Son is usually accordion driven and is often performed solo. It is also played to express sadness. The melody is carried by the singer and the accordion usually offers an extended bass passage played solely with the left hand. Many popular Vallenato songs were performed in this style before they were changed in Paseo.
Just as the Native Americans, Africans commonly associated their music with daily life; however, when they were brought to America, African slaves combined their music with the anguish they felt on a daily basis. Field hollers were loud, emotional chants that expressed the pain and tragedy of the slaves. Work songs also served a similar purpose. Traditionally, they were to express the joy and pride in the hard work for one’s family; but, for the slaves, work songs described the tragic new conditions slaves experienced. Field hollers and work songs, along with religious shouts, paved the way to many other genres of music that is heard today such as the blues, jazz, and
The concert choir performed Shenandoah at a largo tempo. Shenandoah featured isolated parts featuring sopranos and tenors. At the end of the song they did a decrescendo to nothing. The second piece that was performed was Loch Lomond. Loch Lomond is also another folk song.