Scott Ainslie's
BluesRoots Teacher's Study Guide


About the Guide

Meet The Performer

Meet The Blues

Piedmont & Delta Blues

Pre-Performance Preparation & Activity

Post-Performance Discussion

Involving The Music Teacher! (Part 1)

Disc Jockey for a Day

Write Your Own Blues!

Involving The Music Teacher! (Part 2)

The 2 R's & 2 P's

-> An Interesting Aside

BluesRoots Resources for the Classroom


-  All in one for Printing

Involving The Music Teacher! (Part 1)

America is often described as a 'melting pot', but actually a more apt description may be that of a salad---where every element retains it's own character, but combines with other elements in a harmonious, or rather, delicious whole. Some of the ingredients of American music come from Europe, some were indigenous, and there are elements from Africa, as well. The African elements are recognized as African retentions---parts of African tradition that survived the dreaded 'Middle Passage' (the time spent between capture in Africa and enslavement in this hemisphere) and are retained in American and African-American music today. African retentions in American music include ---
 
Call & Response: a structure rooted in communal singing in which a solo call is answered by a group response--adapted to include instrumental responses in Delta Blues, a change that led to the musical ‘conversations' evident in Jazz, Black (and subsequently, White) Gospel, Rock 'n' Roll, Heavy Metal guitar solos and much more.

Rhythmic Variation: used as an expressive element in much the same way that European musicians vary harmony and melody for expressive effect. African musicians vary meter and beat sub-divisions (especially 3:2 contrasts) in a complex layering of simple rhythmic patterns to create highly complex soundscapes.

Syncopation: the placing of rhythmic pulses off the established beat---an extension of the rhythmic variations that drive African- American music and dance styles.

Emotional Singing: which can include shouting, crying, screaming and other speech sounds not typically found in European singing prior to the 1950's and 60's, when African-based vocal styles began to be heard more widely. [In your mind, compare Julie Andrews and Aretha Franklin; Perry Como and Ray Charles; Pat Boone and Little Richard...]

Even the youngest students can identify these characteristics after they are explicitly presented to them. Kindergarten students have readily brought in music from home that demonstrates some of these African characteristics, and, as you might expect, the genres that show up include Gospel, Country, Heavy Metal, Hip-Hop, Jazz, Rock, Folk, Contemporary Ballads, Reggae, Ska, World Beat and Funk.


©1997, Scott Ainslie. All Rights Reserved.

May be downloaded or copied for nonprofit, educational use only. All other uses require express written permission of the copyright holder. For more information on legal use of this information, contact:

Scott Ainslie
Cattail Music, Ltd.
101 Washington Street
Brattleboro, Vt 05301
(802) 257-7391
Email........... ainslie@musician.org