Blues

:For other uses, see blues (disambiguation)

Notes

• {{note|blueseffect}} Ferris, pg. 228 Blues has had inestimable influence upon the development of not only jazz but every genre of American music.
• {{note|noabsolute}} Southern, pg. 333
• {{note|pre-blues}} Garofalo, pg. 44
• {{note|origins}} Ferris, pg. 229
• {{note|Muslimmusic}} SFGate
• {{note|interplay}} Morales, pg 276 Morales attributes this claim to John Storm Roberts in Black Music of Two Worlds, beginning his discussion with a quote from Roberts There does not seem to be the same African quality in blues forms as there clearly is in much Caribbean music.
• {{note|bluesevolution}} Garofalo, pg. 44 Gradually, instrumental and harmonic accompaniment were added, reflecting increasing cross-cultural contact. Garofalo goes on to cite others mentioning the "Ethiopian airs" and "Negro spirituals".
• {{note|ragtimeblues}} Schuller, cited in Garofalo, pg. 27
• {{note|barschords}} Garofalo, pgs. 46-47
• {{note|bluenotes}} Ewen, pg. 143
• {{note|lyrics}} Ewen, pgs. 142-143
• {{note|lyricalform}} Ferris, pg. 230
• {{note|orisha}} Morales, pg. 277
• {{note|bluescountry}} Garofalo, pgs. 44-47 As marketing categories, designations like race and hillbilly intentionally separated artists along racial lines and conveyed the impression that their music came from mutually exclusive sources. Nothing could have been further from the truth... In cultural terms, blues and country were more equal than they they were separate. Garofalo goes on to later claim that artists were sometimes listed in the wrong racial category in record company catalogues.
• {{note|Mozart}} Grace notes were common in the Baroque and Classical periods, but they acted as ornamentation rather than as part of the harmonic structure. Mozart comes very close in the slow movement of his Piano Concerto No. 21, holding a flatted fifth in the dominant for a full quarter-note. But this was a technique for building unbearable tenion for resolution into the major fifth, while a blues melody could sustain the flatted fifth indefinitely as part of the scale. In other words both a blues musician and Mozart could slide from a flatted mi to a major mi over a dominant chord, but the blues musician could also use the flatted mi as a harmonic resolution in a major key.
• {{note|countrycity}} Garofalo, pg. 47
• {{note|littleknown}} Southern, pg. 332
• {{note|1912}} Garofalo, pg. 27; Garofalo cites Barlow in Handy's sudden success demonstrated commercial potential of , which in turn made the genre attractive to the Tin Pan Alley acks, who wasted little time in turning out a deluge of imitations. {parentheticals in Garofalo)
• {{note|Handypseudoblues}} Garofalo, pg. 27
• {{note|habanera}} Morales, pg. 277
• {{note|LemonJefferson}} Clarke, pg. 138
• {{note|RJohnson}} Clarke, pg. 141
• {{note|Piedmontblues}} Clarke, pg. 139
• {{note|Carr}} Clarke, pg. 138
• {{note|BessieSmith}} Ewen, pg. 146
• {{note|SmithRainey}} Clarke, pg. 137
• {{note|jumpblues}} Garofalo, pg. 76
• {{note|YanceyHines}} Garofalo, pg. 47
• {{note|Hendrix}} Garofalo, pgs. 224-225
• {{note|criticism}} SFGate
• {{note|1920spop}} Garofalo, pg. 27