how to write a blues song

8/10/2019 How to Write a Blues Song

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in first person for the most personal touch. For example, "I woke up on the wrong side of the bed

cause you were missin this morning." The one line describes a lot more that's going on than simply

getting up in the morning. Many blues lyrics create inferred ideas that are metaphors. Many times

they are sexual or spiritual. The term "rock n roll" has sexual meaning. B.B. King sings one called

"Rock me Baby." Buddy Guy's show stopper is when he sings "Love Her With a Feeling" which

includes the lyrics: One leg in the east... ...one leg in the west... ...I'm right down the middle... ...tryinto do my best!. Then the crowd goes hysterical, especially those who aren't familiar with the song.

Step Three: Write the Music

Hopefully you play an instrument, but if not try this. Try tapping the rhythm as you sing your song.

Another option is to download some generic blues background tracks to sing to. These are helpful if

you want to learn how to solo on guitar, harmonica, piano, etc. You can work out your parts. Then

you can record yourself with your computer with an inexpensive computer mic or use some studio

recording equipment for the real deal. It doesn't have to be perfect. Remember it's the blues, so it

can sound a little rough.

12 bar blues is a common simple structure of blues you may want to try first. 12 bar stands for 12measures, and you can read all about it at the pbs.org website explanation of12 bar blues.

Step Four: Edit Your Blues Song

You should perform or play your song for people to get their feedback. Use some people who are

musicians as well as others who aren't. This will give you a chance to polish the song further and

make sure it is listenable for the average person. You may get suggestions about lyric fit, timing, or

melody changes that will improve your song. When you are done, write another one. You will only

get better with time and practice. I have included a link to a sample of one of my original blues

songs: "My Misery," and I included a video of me playing the first blues song I ever wrote. Maybe it

will give you some ideas. Don't copy them too much, I did copyright them. Please share it if you are

able to write your own blues song.

Tips For Writing Your Blues Song

1. Don't put too much thought into your song title: Use some of the lyrics you have written already

as your title. Don't go for anything abstract. Blues music is mostly direct and hones with the

exception of sexual innuendos, so make sure your song title is easy to understand.

2. Write matching lyrics and music: The words to your song should be consistent with the music.

Ask yourself, "Are the words in this song consistent with the feeling behind the music? If not

you should write different music, or change the lyrics.

3. Keep writing new songs: If you get stuck while writing a song, move on. There's no sense inwasting your time on one song when you can learn to write songs even better with more

experiences. Let your creativity flow first, then you can be picky when you revise and record.

When a song is complete move on. This way you learn from writing more distinct songs.
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BLUES

by Peter Thomas

Chords in the 12 bar blues sequence

Blues breaks the rules of conventional jazz harmony and improvisation.

The distinctive sound of blues chords is often created by the flattening of various notes (mainly the

3rd, 5th and 7th). The harmony often becomes ambiguous as the flattened 3rd will often be used in a

melody at the same time as the major 3rd in the accompanying harmony. (Not the other way round:

in a minor blues all 3rds are flattened). There is a blues scale which contains these notes, however in

a major key most players combine the flattened notes with the natural notes. (See below blues

scales ). When using the blues scale or phrases derived from it the same (tonic) scale is used over all

three areas, i.e. in the key of C you use a C blues scale and do not usually change to an F blues scale

for the F7 chord at bar 5. The resulting dissonances are effective depending on the players taste and

feel for the blues

When looking at the more basic 12 bar blues chord sequences (i.e. those in blues music rather than

some of the more sophisticated jazz/blues) it does not usually make sense to use the RN analysis in

the same way that we have been used to where key centres are defined by dominant chords. The

flattened 7th is often used on tonic and subdominant chords purely as colour and need not imply a V7-

I cadence or a secondary dominant.

If this makes no sense, then now would be a good time to read (or reread) theJazz

Beginnersand/orRock & Blues Beginnerspages

Example:

In the key of C the C7 chord in bar 4 of a typical 12 bar blues (see below Ex: 12a) appears to be a

secondary dominant chord (V7 of IV), but it is more in keeping with the blues to think of the 5th and

6th bars as the subdominant rather than a new key centre. The IV chord of a blues is invariably a IV7,

but the F7 at bar 6 is chord IV7 of C, not chord V7 of Bb. Although theoretically you could think in

terms of the RN analysis we have been using, and play a scale of F Mixolydian (mode starting on F

using notes of the Bb major scale) this is unlikely to sound like good blues.

I IV7 I I7 IV7 IV7 I I V7 (IV7) I V7

ex 12a: A very basic 12 bar blues sequence

This sequence was often slightly modified in swing, R & B and boogie-woogie of the thirties:

I IV7 I I7 IV7 IV7 I I IIm7 V7 I IIm7-V7
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ex 12b

Often the secondary dominant is used in bar 8:

I IV7 I I7 IV7 IV7 I VI 7 IIm7 V7 I IIm7-V7

Ex 12c

There are also 12 bar blues sequences in a minor key:

Im IVm7 Im7 I7 IVm7 IVm7 Im7 Im7 bVI

7

V7 I IIm7-V7

ex 12d: A typical minor blues

N.B. In all of these sequences chord I is a triad (except on bar 4). In jazz blues sequences the tonic

chord can be a major 7, however this is rare in real blues where chord I is either a triad, a dominant

7th chord or a 6th chord (the added note is used for colour rather than harmonic function as

mentioned above), except on bar 4 where it is nearly always a dominant 7th leading to the IV chord

on bar 5.

PRACTICAL EXAMPLES OF 12 BAR BLUES SEQUENCES:

Basic Blues

C C C C7

F7 F7 C C

G7 G7 or

F7

C C-G7

Although some or all of the tonic and subdominant chords may have a minor 7 added, this is

a blue note and does not have its usual harmonic function as a dominant chord (except in bar 4 where

it acts a secondary dominant leading to the IV7 chord). The above example only introduces the 7thto

the tonic at bar 4 to emphasise this chord change. It is not a modulation to IV as it would be in

classical harmony.

Blues musicians tend to use phrases and patterns rather than scale runs, though jazz variations of

blues can be based on a 12 bar blues structure and can include jazz and blues style patterns alongside

each other.


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Jazz Blues

A simple jazz blues sequence usually changes to chord IV at bar 2 and back to chord I at bar 3 and

uses a IIm7 V7 at bar 9 (often preceded by a secondary dominant).

Early 12 bar jazz blues sequence (Typical of swing or jump blues)

C F7 C C7

F7 F7 C C or A7

Dm7 G7 C Dm7-

G7

This type of sequence is typical of 1930s-1950s swing, jump and R&B styles. More complex sequences

were used in bebop

Typical bebop blues changes

C F7-F#o7 C Gm7-C7

F7 F#o7 C-Dm7 Em7-Eb7

Dm7 G7 C-Am7 Dm7-G7

Form of the 12 bar blues

There are always three 4 bar phrases (ex 9e):

1. Tonic (sometimes with a subdominant on bar two)2. Subdominant and back to tonic (often with repeat of first melody and lyric)3. Dominant (sometimes via subdominant) back to tonic (often with different melody and lyric)


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ex 12e: phrases in12 bar blues.

As you can see, the second phrase is altered slightly to fit the different chords. This is extremely

typical of blues.

A very useful rule to remember:

This alteration of the 3rd note of the tonic scale from major on the I chord to minor as it becomes the

7th of the IV chord is extremely useful when composing or improvising any type of blues.

In jazz, blues sequences can become quite complex but still retain these 3 areas

There are other blues sequences, usually adaptations or extensions of the typical 12 bar. Whenajazzmusician says: let's play a blues, they often mean a 12 bar with a II-V in bar 9, usually with

the secondary dominant or more sophisticated changes (ex 12c).Bluesplayers usually indicate to the

band whether they want a V-IV or II-V type sequence.

Blues scales

Blues musicians use more than one blues scale, (and rarely use the blues scale in its entirety)

however the scale that has come to be called the blues scale is similar to a minor pentatonic scale but

with a #4th (or b5th) added. (ex 12g). I shall refer to this as the minorblues scale but bear in mind it

can be used in major and minor blues sequences.

ex 12g: Minor blues scale


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This scale can be used over all the chords of a basic 12 bar blues sequence, so in the key of C a C

blues scale can be used over the F7 and G7 as well as the tonic chord. (Apparent wrong notes are

acceptable in the context of blues, but their correct placement is usually dictated by experience and a

feel for the style rather than academic rules).

The secret of convincing use of the blues scale is to add a major 3rd (ex 12h) or combine it with ascale which is commonly used in rhythm and blues, swing or jump music. I shall call this

themajorblues scale (ex 12i).

ex 12h: Juxtaposition of minor and major

ex 12i: Major blues scale

ex 12j: Major blues scale combined with minor blues scale

These scales need not be restricted to blues music, they can also work well over other sequences

which do not have more than one key centre (e.g. I Got Rhythm A section) - depending on stylistic

context.

Boogie Bass

Many rock and roll tunes are based on a 12 bar sequence, often with a typical bass line derived from

a boogie-woogie piano left hand (ex 12k). A good way to become familiar with blues changes is to

practise this in all keys.


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ex 12k: Note the IIm7-V7 progression instead of V7 in the second chorus.

Improvising blues riffs

With a basic blues sequence it is relatively easy for an ensemble to improvise a riff

or headarrangement. This was quite common among swing bands of the 30's. Many early Count Basie

arrangements were improvised.

The easiest way is to imagine piano voicings where chords are inverted to keep the top voice around

the same pitch (ex 12l). Add 6ths or 7ths where necessary to create 4 note chords.


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ex 12l: Typical blues horn riff.

Note the melodic alternation between major and minor 3rd. The major 3rd of the tonic drops to theminor 3rd (7th of the IV chord) and back again. It does not take long for each member of an

improvising section to remember his/her notes on a riff such as this, at which point it is easy for the

leader to suggest another riff (rhythmic pattern) which everyone can play using the same harmony

notes. This principle applies whether creating head arrangements for horns, voices, strings or

whatever.

Reggae

TM, , Copyright 2003Piero ScaruffiAll rights reserved.

The word "reggae" was coined around 1960 in Jamaica to identify a "ragged" style of

dance music, that still had its roots in New Orleans rhythm'n'blues. However, reggae

soon acquired the lament-like style of chanting and emphasized the syncopated beat.

It also made explicit the relationship with the underworld of the "Rastafarians" (adepts

of a millenary African faith, revived Marcus Garvey who advocated a mass

emigration back to Africa), both in the lyrics and in the appropriation of the African

nyah-bingi drumming style (a style that mimicks the heartbeat with its pattern of

"thump-thump, pause, thump-thump"). Compared with rock music, reggae music

basically inverted the role of bass and guitar: the former was the lead, the latter beat

the typical hiccupping pattern. The paradox of reggae, of course, is that this music"unique to Jamaica" is actually not Jamaican at all, having its foundations in the USA

and Africa.

An independent label, Island, distributed Jamaican records in the UK throughout the

1960s, but reggae became popular in the UK only when Prince Buster'sAl

Capone(1967) started a brief "dance craze". Jamaican music was very much a ghetto
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phenomenon, associated with gang-style violence, but Jimmy Cliff's Wonderful World

Beautiful People(1969) wed reggae with the "peace and love" philosophy of the

hippies, an association that would not die away. In the USA, Neil Diamond'sRed Red

Wine(1967) was the first reggae hit by a pop musician. Shortly afterwards, Johnny

Nash'sHold Me Tight(1968) propelled reggae onto the charts.Do The Reggay(1968)

by Toots (Hibbert) And The Maytals was the record that gave the music its name.Fredrick Toots Hibbert's vocal style was actually closer to gospel, as proved by their

other hits (54-46, 1967;Monkey Man, 1969;Pressure Drop, 1970).

A little noticed event would have far-reaching consequences: in 1967, the Jamaican

disc-jockey Rudolph "Ruddy" Redwood had begun recording instrumental versions of

reggae hits. The success of his dance club was entirely due to that idea. Duke Reid,

who was now the owner of the Trojan label, was the first one to capitalize on the idea:

he began releasing singles with two sides: the original song and, on the back, the

instrumental remix. This phenomenon elevated the status of dozens of recording

engineers.

Reggae music was mainly popularized byBob Marley(1), first as the co-leader of the

Wailers, the band that promoted the image of the urban guerrilla withRude

Boy(1966) and that cut the first album of reggae music, Best Of The Wailers(1970);

and later as the political and religious (rasta) guru of the movement, a stance that

would transform him into a star, particularly after his conversion to pop-soul melody

with ballads such as Stir It Up(1972),I Shot The Sheriff(1973) andNo Woman No

Cry(1974).

Among the reggae vocal groups, the Abyssinians' Satta Massa Gana(1971) is

representative of the mood of the era.

In 1972 reggae became a staple of western radio stations thanks to the film The

Harder They Come.
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Musical characteristics

Stylistically, reggae incorporates some of the musical elements ofrhythm and blues(R&B),jazz,African

and Latin American music, as well as other genres. Reggae is either played in 4/4 timeorswing time,

because the symmetrical rhythmic pattern does not lend itself to other time signatures such as 3/4 time.

One of the most easily recognizable elements is offbeat rhythms; staccato chords played by a guitar or

piano (or both) on the offbeats of the measure, often referred to as theskank.

This offbeat can be counted so that it falls between each count as an "and" (example: 1 and 2 and 3 and

4 and etc.) or counted as a half time feel at twice the tempo so it falls on beats 2 and 4. Harmonically, the

music is essentially the same as any modern popular genre with a tendency to make use of simple

modalchordprogressions. For example: I - bVII7 and I - ii - iii - ii are both common progressions in

reggae and both examples of the kind of chord structures used in modal jazz.The use of repetitiverhythmic patterns and static, modal chord structures add to reggae's sometimes hypnotic effect.

The concept of "call and response" can be found throughout reggae music, in the lyrics but also in the

way parts are composed and arranged for each instrument. The emphasis on the "third beat" of the bar

(depending on how it's counted) also results in a different sense of musical phrasing with bass lines and

melody lines often emphasizing what might be considered "pick up notes" in other genres.

Drums and other percussion

A standard drum kit is generally used in reggae, but thesnare drumis often tuned very high to give it

atimbales-type sound. Some reggae drummers use an additional timbale or high-tuned snare to get this

sound. Cross-stick technique on the snare drum is commonly used, and tom-tom drumsare often

incorporated into the drumbeat itself.

Reggaedrumbeatsfall into three main categories:One drop,Rockers, and Steppers. With the One drop,

the emphasis is entirely on the third beat of the bar (usually on the snare, or as a rim shot combined with

bass drum). Beat one is empty except for a closed high hat commonly used, which is unusual in popular

music. There is some controversy about whether reggae should be counted so that this beat falls on

three, or whether it should be counted half as fast, so it falls on two and four. An example played by

Barrett can be heard in theBob Marley and the Wailerssong "One Drop". Barrett often used an

unusualtripletcross-rhythmon thehi-hat,which can be heard on many recordings by Bob Marley and the

Wailers, such as "Running Away" on theKayaalbum.

An emphasis on beat three is in all reggae drumbeats, but with the Rockersbeat, the emphasis is also on

beat one (usually on bass drum). This beat was pioneered by Sly and Robbie,who later helped create the

"Rub-a-Dub" sound that greatly influenced dancehall. Sly has openly stated he was influenced to create

this style by listening to American drummer Earl Young as well as other disco and R&B drummers in the

early to mid 1970s, as stated in the book "Wailing Blues". The prototypical example of the style is found

inSly Dunbar's drumming on "Right Time" by the Mighty Diamonds. The Rockersbeat is not always

straightforward, and varioussyncopationsare often included. An example of this is theBlack Uhurusong

"Sponji Reggae".
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In Steppers, the bass drum plays four solid beats to the bar, giving the beat an insistent drive. An

example is "Exodus" by Bob Marley and the Wailers. Another common name for the Steppersbeat is the

"four on the floor".Burning Spear's 1975 song "Red, Gold, and Green" (with Leroy Wallace on drums) is

one of the earliest examples. The Steppersbeat was adopted (at a much higher tempo) by some 2

Toneskarevival bands of the late 1970s and early 1980s.

An unusual characteristic of reggae drumming is that the drum fills often do not end with a climactic

cymbal. A wide range of other percussion instrumentation are used in reggae.Bongosare often used to

play free, improvised patterns, with heavy use of African-stylecross-rhythms.Cowbells,clavesand

shakers tend to have more defined roles and a set pattern.

Bass

Thebass guitaroften plays the dominant role in reggae, and the drum and bass is often the most

important part of what is called, in Jamaican music, ariddim(rhythm), a (usually simple) piece of music

that's used repeatedly by different artists to write and record songs with. Literally hundreds of reggae

singers have released different songs recorded over the same rhythm. The central role of the bass can be

particularly heard indub musicwhich gives an even bigger role to the drum and bass line, reducing the

vocals and other instruments to peripheral roles.

The bass sound in reggae is thick and heavy, andequalizedso the upper frequencies are removed and

the lower frequencies emphasized. The bass line is often a repeated two or four barriffwhen simple

chord progressions are used. The simplest example of this might be Robbie Shakespeare's bass line for

the Black Uhuru hit "Shine Eye Gal". In the case of more complex harmonic structures, such as John

Holt's version of "Stranger In Love", these simpler patterns are altered to follow the chord progression

either by directly moving the pattern around or by changing some of the interior notes in the phrase to

better support the chords.

Guitars

Theguitarin reggae usually plays on the off beat of the rhythm. So if one is counting in 4/4 time and

counting 1 + 2 + 3 + 4 +, one would play a downstroke on the "and" part of the beat .[12]

A musical figure

known asskankor the 'bang" has a very dampened, short and scratchy chop sound, almost like a

percussion instrument. Sometimes a double chop is used when the guitar still plays the off beats, but also

plays the following 8th beats on the up-stroke. An example is the intro to "Stir It Up"by The Wailers. Artist

and producerDerrick Harriottsays, What happened was the musical thing was real widespread, but only

among a certain sort of people. It was always a down-town thing, but more than just hearing the music.

The equipment was so powerful and the vibe so strong that we feel it.[13]

Keyboards

From the late 1960s through to the early 1980s, a piano was often used in reggae to double the rhythm

guitar's skank, playing thechordsin astaccatostyle to add body, and playing occasional extra beats,

runs and riffs. The piano part was widely taken over bysynthesizersduring the 1980s, although

synthesizers have been used in a peripheral role since the 1970s to play incidental melodies
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andcountermelodies.Larger bands may include either an additional keyboardist, to cover or

replacehornandmelodylines, or the main keyboardist filling these roles on two or more keyboards.

The reggae organ-shuffle is unique to reggae. Typically, aHammond organ-style sound is used to play

chords with a choppy feel. This is known as the bubble. This may be the most difficult reggae keyboard

rhythm. The organ bubble can be broken down into 2 basic patterns. In the first, the 8th beats are played

with a space-left-right-left-space-left-right-left pattern, where the spaces represent downbeats not

playedthat and the left-right-left falls on the ee-and-a, or and-2-and if counted at double time. In the

second basic pattern, the left hand plays a double chop as described in the guitar section while the right

hand plays longer notes on beat 2 (or beat 3 if counted at double time) or a syncopated pattern between

the double chops. Both these patterns can be expanded on and improvised embellishments are

sometimes used.

Horns

Horn sections are frequently used in reggae, often playing introductions and counter-melodies.

Instruments included in a typical reggae horn section include saxophone, trumpet or trombone. In more

recent times, real horns are sometimes replaced in reggae bysynthesizersor recorded samples. The

horn section is often arranged around the first horn, playing a simple melody or counter melody. The first

horn is usually accompanied by the second horn playing the same melodic phrase in unison, one octave

higher. The third horn usually plays the melody an octave and a fifth higher than the first horn. The horns

are generally played fairly softly, usually resulting in a soothing sound. However, sometimes punchier,

louder phrases are played for a more up-tempo and aggressive sound.

Vocals

The vocals in reggae are less of a defining characteristic of the genre than the instrumentation and

rhythm, as almost any song can be performed in a reggae style. However, it is very common for reggae to

be sung inJamaican Patois,Jamaican English,andIyaricdialects. Vocal harmony parts are often used,

either throughout the melody (as with vocal groups such as the Mighty Diamonds), or as a counterpoint tothe main vocal line (as with the backing vocalists, the I-Threes). More complex vocal arrangements can

be found in the works of groups likeThe AbyssiniansandBritishreggae bandSteel Pulse.

An unusual aspect of reggae singing is that many singers usetremolo(volume oscillation) rather

thanvibrato(pitch oscillation). Notable exponents of this technique includeHorace Andyand vocal

groupIsrael Vibration.Thetoastingvocal style is unique to reggae, originating whenDJsimprovised

spoken introductions to songs (or "toasts") to the point where it became a distinct rhythmic vocal style,

and is generally considered to be a precursor to rap.It differs from rap mainly in that it is generally

melodic, while rap is generally more a spoken form without melodic content.

Lyric al themes

Reggae is noted for its tradition of social criticism in its lyrics, although many reggae songs discuss

lighter, more personal subjects, such as love and socializing. Many early reggae bands

coveredMotownorAtlanticsoul andfunksongs. Some reggae lyrics attempt to raise the political

consciousness of the audience, such as by criticizingmaterialism,or by informing the listener about

controversial subjects such asApartheid.Many reggae songs promote the use ofcannabis(also known

asherb, ganja, or sinsemilla), considered a sacrament in theRastafari movement.There are many artists

who utilize religious themes in their music whether it be discussing a specific religious topic, or simply
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giving praise to God (Jah). Other common socio-political topics in reggae songs includeblack

nationalism,anti-racism,anti-colonialism,[14]

anti-capitalismand criticism of political systems

and"Babylon".
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