Hi Alex,
You ask some great questions. "You Gonna Quit Me, Baby" could definitely be heard as a 16-bar blues if you hear Blake as playing in cut time, 2/2, and in a way that makes more sense than a four-beat per measure, 8-bar interpretation of the form. If you hear two big beats per measure, then when Blake is in C, in the first four bars, he is consistently doing a thumb roll into the down beat of each measure and not rolling into the second beat of the measure, so you wind up with this kind of accenting in his bass in the first four bars of the song:
2/2: +|1 2+|1 2+|1 2+|1 2 |
The way Blake does his thumb rolls here, he strikes the fifth string on the + of the second beat and the fourth string on beats one and two. On the + of the first beat, he does a little chordal grab or brush stroke in the treble. It has a great lilt to it. There is a definite underlying triple feel, too. Translating the progression into a 16-bar blues in cut time, you wind up with:
| C(I) | C | C | C7 |
| F(IV) | F | C | C7 |
| F | F | C | A7(VI7) |
| D7(II7) |G7(V7)| C | G7 |
Blake consistentaly plays triplet runs over the second beat of bars 3, 7, and 10, leading into the C7, C7 and A7 chords respectively. What you end up with is a beautiful raggy progression of the type that Leecan & Cooksey so often played.
As for distinguishing between 2/4 and 4/4, I believe the distinction is most often between 2/2 and 4/4. Most early alternating bass stuff, like John Hurt, is in cut time, with 2 big beats per measure, though it can be counted in four. Henry Thomas and Frank Stokes were both pretty much cut time, 2-feel players. The four-beats-per-measure feel didn't really come in in a big way until people started playing monotonic bass four-to-the-bar, like Memphis Minnie or Bill Broonzy, on tunes like "Long Tall Mama" or "Hey, Hey Baby".
I think however you choose to analyze "You Gonna Quit Me, Baby" (or choose not to analyze it), it is a hell of a pretty tune.
All best,
Johnm
You ask some great questions. "You Gonna Quit Me, Baby" could definitely be heard as a 16-bar blues if you hear Blake as playing in cut time, 2/2, and in a way that makes more sense than a four-beat per measure, 8-bar interpretation of the form. If you hear two big beats per measure, then when Blake is in C, in the first four bars, he is consistently doing a thumb roll into the down beat of each measure and not rolling into the second beat of the measure, so you wind up with this kind of accenting in his bass in the first four bars of the song:
2/2: +|1 2+|1 2+|1 2+|1 2 |
The way Blake does his thumb rolls here, he strikes the fifth string on the + of the second beat and the fourth string on beats one and two. On the + of the first beat, he does a little chordal grab or brush stroke in the treble. It has a great lilt to it. There is a definite underlying triple feel, too. Translating the progression into a 16-bar blues in cut time, you wind up with:
| C(I) | C | C | C7 |
| F(IV) | F | C | C7 |
| F | F | C | A7(VI7) |
| D7(II7) |G7(V7)| C | G7 |
Blake consistentaly plays triplet runs over the second beat of bars 3, 7, and 10, leading into the C7, C7 and A7 chords respectively. What you end up with is a beautiful raggy progression of the type that Leecan & Cooksey so often played.
As for distinguishing between 2/4 and 4/4, I believe the distinction is most often between 2/2 and 4/4. Most early alternating bass stuff, like John Hurt, is in cut time, with 2 big beats per measure, though it can be counted in four. Henry Thomas and Frank Stokes were both pretty much cut time, 2-feel players. The four-beats-per-measure feel didn't really come in in a big way until people started playing monotonic bass four-to-the-bar, like Memphis Minnie or Bill Broonzy, on tunes like "Long Tall Mama" or "Hey, Hey Baby".
I think however you choose to analyze "You Gonna Quit Me, Baby" (or choose not to analyze it), it is a hell of a pretty tune.
All best,
Johnm