Blues: Knox County Blues (lección)
Lesson time: (4min 44sec)
Chris Haigh explora la influencia del blues en el violín country a través de 'Knox County Blues', abordando bends de nota, slides y síncopa.
Course preview
This lesson is part of the course Introducción al fiddle de country y bluegrass
Watch a preview of the full course below.
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:
-
Bending and Sliding of Notes
This technique is fundamental to capturing the essence of the blues. -
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. -
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.
-
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 es violinista profesional desde hace 25 años, con experiencia en muchos géneros distintos. Ha tocado en más de 75 álbumes, trabajando con artistas como Alison Moyet, Bob Geldof, All About Eve, Michael Ball, David Soul, Oumou Sangare, The Quireboys, Riverdance, Morcheeba, James Galway y Steps. Ha tocado swing y jazz con The Kimbara Brothers, Diz Disley, Le Jazz, The Hot Club of London y los Quecumbar Allstars, y lidera una banda de swing soviético de siete integrantes, The Kremlinaires. Chris imparte clases y talleres sobre técnica de violín de jazz y ha enseñado violín de jazz en las universidades de Middlesex, Brunel y Newcastle y en el Truro College. Entre sus créditos como autor figuran nueve libros de violín, entre ellos The Fiddle Handbook. También dirige Fiddling Around (fiddlingaround.co.uk), probablemente la fuente de información sobre violín más completa y visitada de la red. read more




