50s composition techniques 

[12 Bar Blues]

The 12 Bar Blues structure is a chord progression that represents the amount of measures or bars there are in the typical blues song structure. The 12 bar blues progressions goes I-I-I-I, IV-IV-I-I, V-IV-C-C/V The 12 bar blues structure in C would go C-C-C-C. C-C-F-F G-F-C-C/G. The last chord of the structure is typically the same chord as the first but you can also use the Fifth chord as a turn around chord to go back to the start of the chord progression.

Some famous songs of from the 50s that use the 12 Bar Blues structure is:

• Hound Dog by Elvis Presley. This song follows the structure in C 

• Johnny B. Goode by Chuck Berry. This song follows the pattern perfectly in the key of B♭ major. This is a great song to listen to in order to get your head around the 12 Bar Blues structure. 

• Tutti Frutti by Little Richard. This a great piece that is played in the key of F major.

The typical blues bass line is usually played of the root note of each chord and is played as a walking bass line. The bass line of these blues songs tend to act as a form of rhythmic foundation to the song and makes it feel more groovy.

The effect of using the 12 Bar Blues structure is that it is repetitive, meaning that this could stuck in the listeners head they listen to it. This often resulting in listeners humming and whistling the song in there head during their free time, leaving them stuck with the song until something comes along and distracts them. 

[Call and Response]

Call and Response is a great technique that for musical composition and its as a form of conversation between instruments. I would put as a 'question' asked by one instrument, which serves as the call part, being 'answered' by another instrument. Call and response is an amazing way for the vocals and drums, guitar or bass to communicate in a way. A vocalist could sing a riff and the guitar could play it back the exact same way, this adds a nice texture to the song and it makes it seem like there is a normal sort of conversation going on between the band.

A call and response starts with a 'phrase'. This is a selection of notes that present a musical idea. This phrase can be vocal or can be played on an instrument. Sometimes the response can be sung back by the audience instead of a guitar. This effects how people listen to live music being performed because the singer can sing a phrase and then a guitarist could do the exact same thing on the guitar, but the audience could decide to sing the same lyrics back to band to further inflict that call and response technique.

Due to the simplicity of the call and response technique, this leaves with the effect of enhancing the ability to carry ideas, messages and hidden meanings within the song to listeners. This can be a great way to display a message in music because the listeners will imagine the words over the response section of the call and response technique. 

[Upbeat Tempo]

Music is typically counted at '1, 2, 3, 4'. When things start to appear on the 'And' of the of 1 'and' 2 'and' 3 'and' 4 'and'. This is upbeat, it make the song feel like its moving a bit quick. It means that slow melody of the can clash and contrast with the more driving beat. It makes songs feel more energetic and it can get people on their feet and it makes it easier for people to dance along to it. 

An Upbeat Tempo really pushes the song forwards and if you accent the 1,2,3,4, then you can really help the band stay in time, and it can make the song sound quick and heavy. This suits how some heavier songs are quite faster and more driven. 

The drums act as a foundation when is come to the tempo of the song and is what most of the musicians in a band turn to to try and stay in time, this is extremely helpful especially when playing songs with a more upbeat tempo, because the drums tend to play something on every beat of the bar, meaning that unless that drummer looses the tempo, either by speeding up or sowing down, it is nearly impossible for someone to play out of time.