By Gerhard Kubik

ISBN-10: 1578061466

ISBN-13: 9781578061464

In 1969 Gerhard Kubik chanced to come across a Mozambican hard work migrant, a miner in Transvaal, South Africa, tapping a cipendani, a mouth-resonated musical bow. A similar software was once noticeable within the palms of a white Appalachian musician who claimed it as a part of his personal cultural background. via connections like those Kubik learned that the hyperlink among those far-flung musicians is African-American song, the sound that turned the blues.

Such discoveries exhibit a story of tune evolution for Kubik, a cultural anthropologist and ethnomusicologist. touring in Africa, Brazil, Venezuela, and the USA, he spent 40 years within the box collecting the cloth for Africa and the Blues. during this ebook, Kubik relentlessly strains the distant genealogies of African cultural song via eighteen African countries, specially within the Western and crucial Sudanic Belt.

Included is a finished map of this cradle of the blues, in addition to 31 photos collected in his fieldwork. the writer additionally provides transparent musical notations and outlines of either African and African American traditions and practices and calls into query the numerous assumptions approximately which components of the blues have been "European" in beginning and approximately which got here from Africa. specified to this publication is Kubik's perception into the methods present-day African musicians have followed and enlivened the blues with their very own traditions.

With scholarly care yet with an ease for the overall reader, Kubik proposes a wholly new concept on blue notes and their origins. Tracing what musical qualities got here from Africa and what mutations and mergers happened within the Americas, he exhibits that the African American culture we name the blues is actually a musical phenomenon belonging to the African cultural world.

Gerhard Kubik is a professor within the division of ethnology and African stories on the collage of Mainz, Germany. because 1983 he has been affiliated with the guts for Social study of Malawi, Zomba. he's an enduring member of the guts for Black track learn in Chicago and an Honorary Fellow of the Royal Anthropological Institute of significant Britain and eire, London.

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What has changed is the way we think about the notes. We're less likely to think of them as a 1 Jazz education didn't become widespread in American colleges and high schools until the 1960s. 31 CHAPTER THREE series of 3rds. Because we learned the alphabet as A-B-C-D-E-F-G, and so on, it's not easy to think of every other letter of the alphabet as in D-F-A-C-E-G-B. And because we learned numbers sequentially, as 1-2-3-4 and so forth, it's not easy to think of every other number, as in 1-3-5-7-9-11-13.

Sus chords function as V chords. Figure 3-30 14 44 Art Tatum, Gene Norman Presents, Vol. I, GNP Crescendo, early 1950s. CHORD/SCALE THEORY Figure 3-31 One of the first songwriters to use sus chords was Leonard Bernstein. His "Some Other Time/' written in 1944, alternates major 7th and sus chords (figure 3-31). "17 You might see this same Gsus chord notated as G7sus4, Gsus4, FA/G, F/G, or D-7/G. The last three variations are slash chords, the left part of the symbol indicating to a pianist what chord is to be played over the bass note indicated in the right part of the symbol.

Everybody Digs Bill Evans, Fantasy, 1958. Miles Davis, Kind Of Blue. Columbia, 1959. John Coltrane, Giant Steps, Atlantic, 1959. Herbie Hancock, Maiden Voyage, Blue Note, 1965. John Coltrane, Coltrane's Sound, Atlantic, 1960. 45 CHAPTER THREE Figure 3-35 Figure 3-36 "Maiden Voyage/' recorded in 1965, was a revolutionary tune because it consisted almost entirely of sus chords. Herbie's vamp on the first two bars is shown in figure 3-35. The Dsus chord is voiced with a C major triad in the right hand, which is a whole step down from the root D.

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Africa and the Blues by Gerhard Kubik


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