Blues: Knox County Blues (Lektion)

Chris Haigh
Chris Haigh

Lesson time: (4min 44sec)

Chris Haigh erkundet den Blues-Einfluss auf die Country-Fiddle anhand von 'Knox County Blues' und behandelt Ton-Bendings, Slides und Synkopen.

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This lesson is part of the course Einführung in die Country- und Bluegrass-Fiddle
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Lesson transcript:

Music Lesson: The Blues

In this lesson, we're going to talk about the blues.

Importance of Blues in Country Music

Blues is a very important part of country music, originating from African American influences. Although country music is often seen as "white person's music," the African American contribution is essential. Here are four key elements we derive from African American traditions:

  1. Bending and Sliding of Notes
    This technique is fundamental to capturing the essence of the blues.

  2. Syncopation
    Syncopation refers to when the accent in a bar comes in an unexpected place. For example:
    (demonstrate with a rhythm)
    This concept is crucial in old-time music and is heavily influenced by African American styles.

  3. 12-Bar Blues Structure
    The 12-bar blues is a sequence based on a specific set of chords. An example structure is as follows:

    • 4 bars of G
    • 2 bars of C
    • 2 bars of G
    • 2 bars of D
    • 2 bars of G
      Any tune based on this chord sequence can be identified as a 12-bar blues.
  4. Blue Notes
    Blue notes, often flattened thirds, are a vital part of bluegrass, western swing, and country music.
    All these features can be seen in the playing of early Black musicians.

The Knox County Blues

We're going to play a tune called The Knox County Blues, derived from the playing of the Tennessee fiddler Karl Martin, who recorded it in the 1930s. I strongly recommend checking out some of his recordings.

Chord Sequence of the Tune

Let's revisit the chord sequence of this tune:

  • 4 bars of G
  • 2 bars of C
  • 2 bars of G
  • 2 bars of D
  • 2 bars of G

This is your standard blues sequence.

Playing the Tune

Now, I'm going to play through this slowly without backing and then we'll do it with backing. We'll incorporate lots of bending of notes.

Count: 1, 2, 3, 4.
For now, the hardest phrase is the last one:

  • Start with the fourth finger playing a D on the G string.
  • Slide down around a semitone, followed by an open G.
  • Slur the three notes together.
  • Use the second finger to play B flat and B for the last three bars.

Let's repeat that one more time slowly, and then we'll play with the backing.

Count Again: 1, 2, 3, 4.

Assignment for This Lesson

Your assignment for this lesson is:

  • Listen to any blues music of your choice.
  • Try to identify the key of what you're listening to.
  • Follow along with the chords, identifying the I chord, the IV chord, and the V chord.
  • Finally, attempt to play along with the blues song, particularly focusing on the roots of the chords.

About the instructor

Chris Haigh
Chris Haigh

Chris Haigh ist seit 25 Jahren professioneller Fiddle-Spieler mit Erfahrung in vielen verschiedenen Genres. Er hat auf über 75 Alben gespielt und dabei mit Künstlern wie Alison Moyet, Bob Geldof, All About Eve, Michael Ball, David Soul, Oumou Sangare, The Quireboys, Riverdance, Morcheeba, James Galway und Steps zusammengearbeitet. Er hat Swing-Jazz mit The Kimbara Brothers, Diz Disley, Le Jazz, The Hot Club of London und den Quecumbar Allstars gespielt und leitet die siebenköpfige sowjetische Swing-Band The Kremlinaires. Chris gibt Unterricht und Workshops zur Jazzgeigen-Technik und hat Jazzgeige an den Universitäten Middlesex, Brunel und Newcastle sowie am Truro College unterrichtet. Zu seinen Veröffentlichungen zählen neun Fiddle-Bücher, darunter The Fiddle Handbook. Außerdem betreibt er Fiddling Around (fiddlingaround.co.uk), vermutlich die umfassendste und meistbesuchte Quelle für Fiddle-Wissen im Netz. read more

What's included?

25 lessons (1h 30m)
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