MUS 570D

Characteristics of 50s Music Styles

POPULAR MUSIC

lyrics were non-offensive/non-controversial

subjects dealt with simply boy-girl love

uncomplicated rhythm (usually 4/4, sometimes 3/4)

rhythm was kept in the background of the musical fabric

melodies were important–singable, easy to remember after only one hearing

symmetrical–4-measure phrases; 8- or 16-bar patterns

tempos were usually moderate to slow; faster tunes were usually "cutesy"

repertoire most often provided by professional songwriters

Artists: Nat King Cole, The Four Aces, Doris Day, Rosemary Clooney, Perry Como, etc.

COUNTRY AND WESTERN (C&W)

as with pop music, melodies and lyrics were of prime importance

lyrics were often love oriented–often about being jilted

harmonies were usually more simple than pop music

the forms of both types were similar

rhythm was simple and straightforward, but usually more prominent than the rhythmic feel in pop music

usually 3 or 4 beats per measure; little or no subdivision

usually a lead singer, often accompanied by a trio or quartet

musicians often performed their own original material

music generally not notated, but simply worked out in rehearsals

associated with the steel guitar

"nasal," "twangy" vocal style

traditional C&W avoided drums; typically included: lead vocal, backup group, steel guitar, piano, violin, acoustic bass, acoustic and electric guitars

Artists: Hank Williams Sr., Gene Autry, Roy Rogers, Dale Evans, Tex Ritter, etc.

RHYTHM AND BLUES (R&B)

unlike either Pop or C&W, the R&B market was black

many R&B songs based on the 12-bar blues form

music generally not notated; as with C&W, "head charts" were used

although not as spontaneous as jazz, R&B did allow for some improvisation

typical R&B combo: guitars (electric, acoustic or both), acoustic bass, piano, drums, saxophone, harmonica

as the name implies, R&B was characterized by a hard, driving, prominent rhythm

although words were important, the "melody" got little creative attention compared to pop music; the melodies were simply a vehicle to carry the lyrics

R&B vocal performances were often of the "shouting" variety

some of the early R&B tunes are direct predecessors of rock and roll

Artists: B.B. King, Bessie Smith, "Howlin’ Wolf," "Muddy Waters," Joe Turner, etc.

MAINSTREAM ROCK

heavy reliance on the 12-bar blues form

vocal style similar to R&B; there were "shouters" in both styles

similar to R&B, most ‘50s mainstream rock was not notated (since chord changes were simple, it was not necessary)

mainstream rock bass lines were derived from the R&B style (pop and C&W bass lines essentially played the root of the chord on the downbeat; R&B and rock bass lines were much more melodic)

as with R&B, the element of rhythm was accentuated; in early pop and C&W tunes, drums were non-existent or practically inaudible; in rock, drums created a backbeat (on beats 2 & 4) which created further excitement

Artists: Elvis Presley, Little Richard, Chuck Berry, Fats Domino, Buddy Holly, Jerry Lee Lewis, Bill Haley, Ray Charles, Danny and the Juniors, Bobby Day, etc.

ROCKABILLY (Rock + Hillbilly)

stopped short of the shouting vocal style–almost approached crooning in slower songs

singing was presented clearly on pitch–no sliding, and the lyrics were enunciated

instrumentation similar to mainstream, but less emphasis on saxophone; acoustic guitars used more often

not part of the traditional C&W scene, drums were added, reflecting the R&B influence

earlier rockabilly used acoustic bass; later used electric bass

although some songs used the 12-bar blues form, many followed the 8- or 16-bar patterns typical of C&W and pop songs

while the beat was watered down, still, the backbeat on 2 & 4 was present to help identify rockabilly as a rock style

Artists: Everly Brothers, Ricky Nelson, Buddy Holly, etc.

SOFT ROCK

a carryover of the pop music influence–essentially a melding of the two styles

two distinct branches were evident: (1) white soft rock, (2) black soft rock (doo-wop groups, etc.)

"Doo-Wop" refers to songs with "nonsense" syllables, e.g., doo-be-doo-be-doo-be-doo-shoo-be-doo, etc. Chord progressions were usually: I vi IV V ...

White soft rock artists: Pat Boone, Paul Anka, Frankie Avalon, Bobby Rydell, Bobby Darin, Connie Francis, and, yes, Elvis, etc.

Black soft rock artists: The Platters, The Coasters; The Diamonds (white group singing in a black doo-wop style), etc.

THE 12-BAR BLUES PROGRESSION

I I I I

IV IV I I

V IV I I

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