Soul - c. Atlantic Records (Atlanta, GA) 5) Booker T. and...

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Soul 1) Elements from Gospel music a. Freedom of performance (improvisation) b. Gospel vocal inflection – Melisma c. Religious fervor (feeling) d. Call and response performance 2) a. Instrumentation: drums, bass, piano, horns, backing vocals, some guitar b. Hard-driving rhythms c. Fast tempos d. Aggressive, electrifying performances 3) Ray Charles (1930-2004) a. b. Influence of Guitar Slim (c. 1953) i. Gospel chord progressions 1. Tonic/subdominant chord relations 2. Minor 3rds, 7ths rather than blue 3rds, 7ths ii. Horn section resemblances backing choir iii. Emotionally-charged singing style 1. Raspy, full-throated vocals 2. Sudden swoops, falsetto shrieks 3. A sense of wild abandon c. Songs i. I’ve Got A Woman (1955) – Contrafact ii. What’d I Say (1959) 4) The Memphis Soul Sound
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a. Stax/Volt Records (Memphis, TN) b. Fame Records (Muscle Shoals, AL)
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Unformatted text preview: c. Atlantic Records (Atlanta, GA) 5) Booker T. and the MGS a. House band at Stax/Volt b. Booker T. Jones (keyboards) c. Al Jackson (drums) d. Steve Cropper (guitar) e. Donald “Duck” Dunn (bass) f. The Markeys (horn group) 6) Characteristics: a. Heavy accent on the beat and rhythm b. Prominent recording of drugs c. Staccato, persuasive horn sound d. Growly, rasping sound supports melody e. Jazz-like organ sound f. Guitar: trebly, tinny sound (rockabilly) g. Slight delay of backbeat 7) Mid-1960’s Soul Artists a. Sam and Dave i. Hold On (I’m Comin’)(1966) ii. Soul Man (1967) b. Percy Sledge i. When A Man Loves A Woman (1966) c. Wilson Pickett i. In the Midnight Hour (1965) ii. Land 1000 Dances (1966) d. Otis Redding i. I’ve Been Loving You Too Long (1965) ii. (Sittin’ on the) Dock of the Bay (1967)...
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This note was uploaded on 05/26/2011 for the course MUSI 2060 taught by Professor Valdez during the Spring '08 term at UGA.

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Soul - c. Atlantic Records (Atlanta, GA) 5) Booker T. and...

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