Listen What I Gotta Say: Women in the Blues
Lesson Hub 4
Building the Blues
6th grade–8th grade
How did some of the structural elements we associate with blues music become standardized over time?
Rhythmic Blues, by Joseph Holston. Smithsonian American Art Museum.
The question to consider throughout this Lesson is:
Building the Blues
Portrait of W. C. Handy, by Prentice H. Polk. National Portrait Gallery, © Tuskegee University Archives.
The World Meets the Blues
Path 1
20+ minutes
Building the Blues: Beale Street
The musical style we now recognize as the “blues” was created by African Americans in the rural southern United States towards the end of the 19th century.
Although the history of blues music is very complex, many people call Beale Street in Memphis, TN the "home of the blues."
Beale Street Blues 1919, by Pace & Handy Music Co. {{PD-US-Expired}}, via Wikimedia Commons.
Beale Street's vibrant music scene in the late 19th and early 20th centuries played an important role in the development and popularization of blues music.
Beale Street in Memphis, TN
If time allows, watch this short video, which offers more details about the importance of Memphis's Beale Street in blues history -- and the history of American popular music more broadly.
The Legendary Spot Where Elvis Recorded His First Song, by the Smithsonian Channel.
Discover Relationships Between Blues Styles
1920s
1930s and Beyond
Country Blues
Urban Blues
While it is true that the “blues style” developed over time and had a variety of influences, many of the music elements we associate with blues music today (e.g., structure, harmony, scales) were not solidified until 1912—when the composer shown here, W. C. Handy, wrote and published the instrumental version of a song called “Memphis Blues.”
"Memphis Blues," recorded by James P. Johnson
Portrait of W. C. Handy, by Prentice H. Polk. National Portrait Gallery.
Publishing the Blues
Next, let's listen to a vocal version of the same song: "Memphis Blues."
What musical sounds do you notice?
Katharine Handy Lewis, by David Gahr. Folkways Records.
. . . Keep in mind that this was the first written music publication labeled as the "blues."
Labeling the Blues
"Memphis Blues" Lyrics
Folks I've just been down, down to Memphis town. That's where the people smile, smile on you all the while. Hospitality, they were good to me. I couldn't spend a dime, and had the grandest time.
I went out a dancing with a Tennessee dear. They had a fellow there named Handy with a band you should hear. And while the *[white] folks swayed, all the band folks played real harmony.
I never will forget the tune that Handy called the "Memphis Blues." Oh, them blues.
They've got a fiddler there that always slickens his hair. And folks he sure do pull some bow. And when the big bassoon second to the trombone croon. It moans just like a sinner on Revival Day, on Revival Day.
That melancholy strain, that ever haunting refrain
Is like a *[darkie] sorrow song. Here comes the very part that wraps a spell around my heart.
It sets me wild to hear that loving tune again, the "Memphis Blues."
W. C. Handy (1873-1958) (pictured here) was a classically trained musician, composer, and music educator.
Handy commonly pulled from African American folk music styles as inspiration for his compositions.
"Memphis Blues" was key in popularizing the blues to a broad audience because it codified distinct elements for the genre that people could recognize.
W. C. Handy - "The Father of the Blues"
Recording the Blues
This song, “Crazy Blues,” was written by another classically trained African American musician—Perry Bradford.
Crazy Blues Single and Artists' Portraits, by Ed Komara. Library of Congress.
Although W. C. Handy's 1912 composition was crucial in making the blues a music "genre," Mamie Smith was the first African American to make a public recording of a blues song (1920).
Marketing the Blues
It was not until Mamie Smith recorded "Crazy Blues" that the "blues," as a genre, was viewed as marketable.
Reflect and Discuss: What are some factors that make music "marketable"?
Marketing the Blues: Does it Sell?
"Memphis Blues," recorded by Katharine Handy Lewis
"Crazy Blues," recorded by Mamie Smith
Considering the time period, why do you think some assumed that "the blues" was not worth recording and selling?
Why do you think "Crazy Blues" was the first blues recording that was considered marketable?
"The Blues" Experiences Commercial Success
OKeh Records Blues! Blues! by the Okeh Phonograph Corporation. {{PD-US-Expired}}, via Library of Congress.
“Crazy Blues” was a huge hit, reportedly selling over 75,000 in its first few months of release.
This recording launched the commercial popularity of the blues genre.
The success of this record showed record labels that African Americans were consumers with buying power.
Discussion: Building the Blues
How do you think compositions like “Memphis Blues” and “Crazy Blues” affected what consumers thought of as the “blues”?
Why would having a standardized form for the blues be important commercially?
Comparing the Blues
Hint: Some examples of other blues musicians: B. B. King, Eric Clapton, Memphis Minnie, Big Mama Thornton, Muddy Waters, Robert Johnson, Bessie Smith, Ma Rainey.
How do “Memphis Blues” and “Crazy Blues” compare to other blues songs and blues musicians you know?
"Memphis Blues," recorded by Katharine Handy Lewis
"Crazy Blues," recorded by Mamie Smith
B. B. King at the Newport Folk Festival, by Diana Jo Davies. Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Learning Checkpoint
- What was the first commercial recording of blues music and who recorded it?
- Who is known as the "Father of the Blues" and why?
- Why did the blues begin to be viewed as marketable in the 1920s?
End of Path 1: Where will you go next?
Advance to the next History and Culture Path:
The Deep South: Mississippi Delta Blues
Women in the Blues - Lesson 5, Path 2
UNDER CONSTRUCTION
12-Bar Blues Phrasing and the Blues Scale
Path 2
30+ minutes
| I | I or IV | I | I7 |
|---|---|---|---|
| IV | IV | I | I7 |
| V | V or IV | I | I or V |
Building the Blues: W. C. Handy
The first published written composition labeled as the "blues"—"Memphis Blues" by W. C. Handy (1912)—solidified some of the music elements we associate with blues music today (e.g., song structure, harmony, scales, style).
"Memphis Blues," recorded by James P. Johnson
Portrait of W. C. Handy, by Prentice H. Polk. National Portrait Gallery.
Listening for Structure and Phrasing
Let's listen to the vocal version of "Memphis Blues," performed by Katharine Handy Lewis (the composer's daughter):
Are there any sections that repeat or change drastically?
How long are the phrases?
Can you determine the meter by tapping along?
Chord Progression: The 12-Bar Blues
A common chord progression is one feature of blues music that has become standardized over time.
| I | I or IV | I | I7 |
|---|---|---|---|
| IV | IV | I | I7 |
| V | V or IV | I | I or V |
Standard 12-bar blues chords
Fun with Chord Changes
| I | I or IV | I | I7 |
|---|---|---|---|
| IV | IV | I | I7 |
| V | V or IV | I | I or V |
Standard 12-bar blues chords
- Each time you hear a new chord (the chord change), clap your hands.
- Try to sing the chord changes (sing the root note at the beginning of each measure).
- Play the chord changes (root note) on an instrument.
Your teacher will play the 12-bar blues progression.
"Memphis Blues": Listening for Chords
| I | I or IV | I | I7 |
|---|---|---|---|
| IV | IV | I | I7 |
| V | V or IV | I | I or V |
Standard 12-bar blues chords
Let's return to the vocal version of the first published blues composition, "Memphis Blues," performed by Katharine Handy Lewis (the composer's daughter):
In the final section of the song, does it sound like the 12-bar blues?
"Memphis Blues": Listening for Phrases
As you listen to this excerpt again, follow along with the lyrics and identify the three phrases.
That melancholy strain, that ever-haunting refrain is like a darkie* sorrow song. (4 bars)
Here comes the very part that wraps a spell around my heart. (4 bars)
It sets me wild to hear that loving tune again: the "Memphis Blues."(4 bars)
"Crazy Blues": Listening for Chords
| I | I or IV | I | I7 |
|---|---|---|---|
| IV | IV | I | I7 |
| V | V or IV | I | I or V |
Standard 12-bar blues chords
Now let's listen to an excerpt from the first commercialized recording of blues music, "Crazy Blues," performed by Mamie Smith in 1920.
During this part of the song, does it sound like the 12-bar blues?
Moving with the Chord Changes
- As a class, choose two movements.
- Assign each movement to a chord: One for the "home" chord (I) and one for the "away" chords (IV, V).
- Listen to the excerpts from the songs and perform the movements accordingly.
"Crazy Blues"
- Mamie Smith
"Memphis Blues"
- Katharine Handy Lewis
Optional: Research Time!
Throughout the 20th and 21st century, MANY popular musicians have used the 12-bar blues framework in their songs.
Do a little research on your own on the songs/musicians you like to listen to. Do any of them use the 12-bar blues?
Make a list of famous/popular tunes that have used this form.
What is a "blue" note?
Blue notes are created by raising or flattening the pitch to cause an unexpected, dissonant sound.
Raise your hand when you hear blue notes.
"Memphis Blues," recorded by Katharine Handy Lewis
"Crazy Blues," recorded by Mamie Smith
Blues Scales
There are scales—called blues scales—that are structured using blue notes.
“Do, Re, Mi, Fa ...
Sol, La, Ti, Do”
Review: A scale is a sequence of notes.
You are probably most familiar with the diatonic major scale:
- Do, Re, Mi, Fa, Sol, La, Ti, Do
- 1, 2, 3, 4, 5, 6, 7, 1
- C Major: C, D, E, F, G, A, B, C
Generally Speaking .....
Blues Scales
How do blues scales differ from diatonic scales?
-
Usually have six pitches
-
Usually feature the lowered 3rd, 5th, and 7th scale degrees (blue notes)
-
Most common configuration:
1 - ♭3 - 4 -♭5 - 5 - ♭7
Blues Scales
Recap: Building the Blues
Two important features that became "standardized" components of the blues sound following the release ofW. C. Handy's "Memphis Blues" in 1912 were:
"Memphis Blues," recorded by James P. Johnson
- 12-bar phrasing (three 4-bar phrases)
- Blue notes / blues scales 1 -♭3 - 4 -♭5 - 5 - ♭7
Portrait of W. C. Handy, by Prentice H. Polk. National Portrait Gallery.
Generally Speaking .....
Optional Discussion: What Is Missing?
Based upon your pre-existing knowledge of blues music, are there any common musical elements missing in the early recordings we listened to in this Path?
Learning Checkpoint
- What is 12-bar phrasing?
- What is a blue note?
- What is a blues scale?
End of Path 2: Where will you go next?
UNDER CONSTRUCTION
Interpreting the Blues
Path 3
20+ minutes
Blues Singer Lizzie Miles, unknown photographer. Cook Records.
Interpreting the Blues
As a class, discuss some differences between these two versions.
"Memphis Blues," recorded by Katharine Handy Lewis
"Memphis Blues," recorded by Lizzie Miles
Over the years, many artists have interpreted the first published "blues" composition, W. C. Handy's "Memphis Blues."
Stylistic Preferences
Listen to both versions again.
Make a list of a few things you like about each performer's version of "Memphis Blues" and a few things you'd change.
Katharine Handy Lewis, by David Gahr. Folkways Records.
Lizzie Miles, unknown photographer. Cook Records.
"Memphis Blues," recorded by Katharine Handy Lewis
"Memphis Blues," recorded by Lizzie Miles
Learn the Melody
Listen to a 12-bar phrase from these excerpts several more times.
As you start to feel comfortable with the melody, can you hum along?
Sing Along with Lizzie Miles!
Now that you are comfortable with the melody, try to sing along with Lizzie Miles's version of the song.
Can you add your own style?
"Memphis Blues"
That melancholy strain, that haunting refrain, is just like a sorrow song.
And, here comes the part that wraps itself around your heart (blow boy blow.)
Say he drives me wild, when I hear that loving strain: those old "Memphis Blues."
Can you emulate the vocal style of the singer?
Optional: Arrange "Memphis Blues"
Now that you are familiar with a 12-bar phrase from this song, can you create your own arrangement?
Add your own style
Practice singing the melody
Add time / rhythm
Learn the chord progression
Optional: Arrange "Memphis Blues"
| I | I | I | I7 |
|---|---|---|---|
| IV | IV | I | I or I7 |
| V | IV | I | I or V7 |
12-bar blues chord progression
That melancholy strain, that ever-haunting refrain, is just like a sorrow song.
Here comes the very part that wraps a spell around my heart.
It sets me wild to hear that loving tune again: the "Memphis Blues."
Learning Checkpoint
- What were some differences between two interpretations of "Memphis Blues" (Katharine Handy Lewis vs. Lizzie Miles)?
- What important elements of "Memphis Blues" (heard in both versions) have remained somewhat standardized over time?
End of Lesson Hub 4: Where will you go next?
UNDER CONSTRUCTION
Lesson 4 Media Credits
Audio courtesy of
Smithsonian Folkways Recordings
Images courtesy of
Library of Congress
Danielle Nalangan
National Portrait Gallery
Smithsonian American Art Museum
Smithsonian Center for Folklife and Cultural Heritage
Smithsonian Folkways Recordings
Tuskegee University Archives
© 2025 Smithsonian Institution. Personal, educational, and non-commercial uses allowed; commercial rights reserved. See Smithsonian terms of use for more information.
This Lesson was funded in part by the Smithsonian Youth Access Grants Program, with support from the Society for Ethnomusicology and the National Association for Music Education.
For full bibliography and media credits, see Lesson 4 landing page.