Country Blues > Weenie Campbell Main Forum
Vocal Phrasing--The Long And The Short of It
Johnm:
Hi all,
I got to thinking recently how sometimes when you listen to a recording, the singer will make the vocal entrance after the first line sooner or later than you thought he/she would. Generally, when the vocal entrance seems early, the phrase that precedes it is spoken of as being "short". Similarly, if the second vocal entrance seems late, the phrase that precedes it is considered "long". The same terminology is used in describing "crooked" Old Time fiddle tunes.
I first noticed, when working on the Robert Wilkins instructional video, that in a number of his songs Wilkins was long, but in a consistent and predictable way. Basically, it worked so: In measures that contained vocal pick-up notes, Robert Wilkins would tack on two additional beats to accommodate the vocal pick-ups, rather than simply using the last two beats of the four-beat measure for the pick-ups. Here is his "Jailhouse Blues":
Working that way, his phrasing for "Jailhouse Blues" worked out as follows: (NOTE: Unless otherwise indicated, you can assume bars are of four beats. To keep the form from scrolling, when there is a bar without lyrics, I will shorten the space alloted for it visually. It is not actually shorter, it just saves space.)
Oh look like I can see trouble in the air Oh look li-
| | I | I |I--4+ 2 beats|
-ike I can see trouble in the air But ain't on-
| IV | IV |I |I--4 + 2 beats|
only here, friends, it's trouble everywhere Now I wish-
| Vmin7 | Vmin7 | I |I--4 + 2 beats|
Robert Wilkins used the very same phrasing scheme for "Rolling Stone", his debut recording. When you hear him do these songs, there is never a feeling of him messing up the time, partially because his pulse is so strong and regular. And if you play and sing these songs, and really spend some time with them, it would never occur to you to do them any other way, I think.
The same approach to treatment of vocal pick-ups can be found in blues where the vocal phrasing sounds short. One of the greatest examples is St. Louis pianist Walter Davis's version of "Sloppy Drunk Again", on which he is joined by Henry Townsend and Big Joe Williams on guitars. Here it is:
"Sloppy Drunk Again" works out as follows:
My gal's done quit me found somebody else My
| I | I | I--4 + 2 beats|
gal's done quit me found somebody else And
| I | I | I--4 + 2 beats|
Now I'm tired of sleeping by myself I
| I | I | I--4 + 2 beats|
In the case of "Sloppy Drunk Again", Walter Davis and his band have chosen to omit the second fill measure at the end of each four-bar phrase, while retaining the two beats needed for the vocal pick-ups. This song is a one-chorder, by the way, and listening to it has often made me feel like chord changes can be over-rated. But until you get used to it (or even after) the vocal entrances may seem like they are two beats early.
I recently purchased a Document CD which compiles all of Bukka White's pre-rediscovery recordings, and found that he was very partial to the Walter Davis "short" phrasing scheme employed in "Sloppy Drunk Again". Here is "High Fever Blues":
Bukka's "High Fever Blues" works out as follows:
I'm taken
down with a fever and it won't let me sleep I'm taken do-
| I | I | I--4 + 2 beats |
-own with a fever and it won't let me sleep It was about thre-
| IV | IV | I--4 + 2 beats |
-ee o'clock before heat would let me be I wish
| V7 | V7 |I--4 + 2 beats|
Bukka maintains the phrasing throughout the song, and he is so partial to the "short" treatment of vocal phrasing that he uses it to varying degrees on every tune he recorded in the two-day sessions recorded in Chicago with Washboard Sam in 1940.
I think the whole issue of short and long phrasing is interesting because it illustrates the extent to which the blues, at least in its earlier stages, was driven rhythmically not by meter, but by pulse and phrase length. When you put meter/bar structure in the driver's seat, as they are in a lot of present-day blues, you end up with a situation where the form plays the player rather than the player determining the form.
All best,
Johnm
waxwing:
Another great topic, John. How did I know when I saw the title you were gonna talk about Robert Wilkins? This is something that I have been trying to be more aware of lately, finding my own singing being a little too "square" at times. I'm kinda going back to writing out the vocal over tab so I can take it real slow and "get it right" before I let go and try to get the flow. I think by taking baby steps at first I can eventually get the feel more readily later when working on new material. What you say about pulse and phrase length is very helpful in looking at this issue. Anyway, back to Jailhouse Blues, one of Gre's favs, again!
Boy, I have to listen to more Walter Davis, too. His vocal quality really gets to me and his rhythmic sense is particulaly interesting. Thanks.
All for now.
John C.
Johnm:
Thanks for the good word, John. I have to admit, I find this stuff incredibly interesting. The fact that "Jailhouse" is one of Gre's favorites speaks very well of her taste, I think! One of the really magical things you realize about a lot of these musicians when you start to examine these issues is how independent their vocal phrasing was of whatever time-keeping was going on in their instrumental accompaniments. It makes for a tremendously dynamic sound. I think of Roosevelt Graves and his brother doing "Woke Up This Morning with My Mind Standing On Jesus", and Roosevelt's accompaniment and the complexity of how it all mixes and its perfection, and it just cracks me up, it is so great.
All best,
Johnm
uncle bud:
--- Quote from: waxwing on January 19, 2005, 04:24:13 PM ---This is something that I have been trying to be more aware of lately, finding my own singing being a little too "square" at times. I'm kinda going back to writing out the vocal over tab so I can take it real slow and "get it right" before I let go and try to get the flow. I think by taking baby steps at first I can eventually get the feel more readily later when working on new material.
--- End quote ---
Hey JohnC,
If I may be slightly impertinent for a moment. If you're looking to be looser, why not avoid the exacting transcription of vocal and tab and go for singing along with record over and over? You don't think about the guitar and get used to playing with the vocal a bit. Then go to the guitar and see what happens.
Anothe excellent thread, JohnM. The example that always comes to mind re. "short" phrasing from your own teaching at PT is Joe Callicott's Frankie. It really makes the tune that much better, IMO. And he's not always short either: even better.
Johnm:
I agree with you, Andrew. With regard to this issue, consistency of whatever phrasing scheme is not necessarily the star we should all be shooting for--I think being able to truly be in the moment and change phrasing as impulse and fancy dictate without a train wreck resulting is the real prize.
All best,
Johnm
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