Country music is a merge of admired musical shapes that initially originated in the Southern United States and the Appalachian Mountains. It has origins in customary folk melody, Celtic music, blues, gospel music, and old-time music and developed quickly in the 1920s. The term country music started being used in the 1940s when the previous term hillbilly music was believed to be disgracing, and the term was generally hugged in the 1970s, while country and western has refused in use since that time, apart from in the United Kingdom, where it is still normally used.
Blues is a voiced and instrumental type of music grounded on the use of blue notes. It appeared in African-American societies of the United States from holies, work songs, field howls, shouts, and songs, and rhymed simple story ballads. The usage of blue notes and the importance of call-and-response prototypes in the music and lyrics are analytic of African impact. The blues impacted later American and Western admired music, as it became the roots of jazz, bluegrass, rhythm and blues, rock and roll, heavy metal music, hip-hop, and other popular music forms.
Origin
To begin with, it is necessary to mention that these two music genres appeared in different circumstances, in spite of the fact that the USA became the motherland of both. The country is considered to be the music of cowboys, the melody of prairies, and the rhythm of the cold lonely night in the desert at the fire. Strangers, seeking for better destiny, wandered along with the whole country, and not to die of boredom, tried to compose music, lyrics, gathered together and played in bands. Any available instrument was used: guitar, harp (harmonica), or shepherd’s trumpet. The country is the music of hot blood, freedom, and the romantics of the big way, and this mood is transferred with the music
Blues was innovated by the black population of the United States. The fresh memories of slavery, segregation, and discrimination bore the blues music. People aimed to gather into bands and have leisure; that is why both slow and quick rhythms are present. The social and financial motives for the origin of the blues are not completely known. The first emergence of the blues is not well classified and is generally dated between 1870 and 1900, a period that corresponds with emancipation and the changeover from slavery to sharecropping, small-scale agricultural creation, and the development of railroads in the southern United States.
Instruments
Drums were disdained by early country instrumentalists as being “too loud” and “not pure,” but in1935 Western Swing big band head Bob Wills added drums to the Texas Playboys.
For several decades Nashville assembly players preferred the temperate zones of the Gibson and Gretsch archtop electric guitars, but a “hot” Fender manner, using guitars which became obtainable beginning in the early 1950s, ultimately triumphed as the autograph guitar sound of country.
As for blues, while a classical performer will normally play a grace note definitely, a blues singer or harp player will play glissando, “overwhelming” the two notes and then discharging the elegance note. In blues chord sequences, the tonic, subdominant, and dominant chords are often played as vocal seventh chords, the vocal seventh being a significant element of the blues level. Blues is also infrequently played in a minor key, such as in the genre of Paul Butterfield. The scale varies little from the customary minor, excluding for the infrequent use of a leveled fifth in the tonic, often played by the singer or lead instrument with the ideal fifth in harmony.
References
Cheseborough, Steve. Blues Traveling: The Holy Sites of Delta Blues. Jackson, MS: University Press of Mississippi, 2004.
Jenkins, Tricia. “Country Music Tradition and Thomas Jefferson’s Agricultural Ideal.” Popular Music and Society 29.1 (2006): 37.
Lewis, George H., ed. All That Glitters: Country Music in America. Bowling Green, OH: Bowling Green State University Popular Press, 1993.
Lightfoot, William E. “The Three Doc(k)s White Blues in Appalachia.” Black Music Research Journal 23.1-2 (2003): 167.
Scheurer, Timothy E., ed. American Popular Music: Readings from the Popular Press. Vol. 2. Bowling Green, OH: Bowling Green State University Popular Press, 1989.
Ward, Brian. Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations. London: UCL Press, 1998.