Listen What I Gotta Say: Women in the Blues

Lesson Hub 5:

Blues in the Country

The question to consider throughout this Lesson is:

What makes the country blues "country"?

Elizabeth Cotten with Guitar, by John Cohen. Folkways Records.

A black and white photo of Elizabeth Cotten playing her guitar with the bass strings at the bottom and the treble strings on top; the neck of the instrument extends to her right. Elizabeth Cotton wears a long-sleeved buttoned shirt; she faces the side of the photo and her dark hair is cut short.

Blues in the Country

Store and "Juke Joint," by Marion Post Walcott. Library of Congress.

The photo on the slide’s right side depicts a small wooden storefront with an awning supported by tall posts over the front porch. A worn sign just under the roofline reads “666 Colds Fever.” Two people sit on high stools on the porch. They appear to play instruments.

Path 1

The Deep South: Mississippi Delta Blues

30+ minutes

King and Anderson Plantation, Clarksdale, Mississippi Delta, by Marion Post Wolcott. Library of Congress.

This photo pictures a group of five workers walking away from the camera on a rural road. The field stretches before them as far as the eye can see. Most of the workers carry long hoes.

Introduction to the Country Blues

The music that began to evolve in rural areas of the Deep South during the late 1800s is often referred to as “country blues.”

Country Blues, one of the earliest forms of blues music, is characterized by solo vocals with acoustic, fingerstyle guitar accompaniment.

Listen to an example:

Can you hear these characteristics?

"Low Down Rounder's Blues," by Peg Leg Howell

Generally Speaking .....

The Mississippi Delta

The Mississippi Delta is a distinct cultural region in northwest Mississippi. It is sometimes called

"the land where the blues began"!

This region had rich and fertile soil, so it was an agricultural hub during the 19th and early 20th century. It was home to many cotton plantations.

Mississippi Delta Map, by BF2002, CCO, via Wikimedia Commons.

The left side of the slide shows a map that is mostly pale green; the Mississippi Delta area which stands out in purple.

Reconstruction and Jim Crow Laws

After the Civil War (1861–1865) and during the Reconstruction period       (1865–1877), many Black Americans living in the Delta region had hopes of owning land and gaining political rights.

However, any small economic, political, and social gains experienced by Black Americans during this time were quickly reversed as Reconstruction ended.

Jim Crow laws were instituted, and racial violence became more common in a sharecropping system designed to replace the system of slavery.

Blues in the Mississippi Delta

It was in this environment, during this time, that the blues emerged and evolved.

Black farmers, sharecroppers, and lower-class laborers in the Mississippi Delta region played and popularized the blues, performing at country barbeques, juke joints, and family gatherings.

Queen of Hearts, Juke Joint, by David LaFevor. Smithsonian Magazine.

This slide is dominated by a photo of the inside of the Queen of Hearts Juke Joint. Chairs and tables are prominent though a space in the center of the room is clear, probably to make room for dancing. Part of a juke box is visible on the left side of the room.

Optional Activity: Learn About Mississippi Delta Blues Musicians!

On this map, you'll notice that many well-known blueswomen and bluesmen were born in or near the Delta (region shown in green).

Click on the light blue boxes to listen to songs performed by these blues musicians.

Mississippi Delta Blues Musicians Birth Map, by Danielle Nalangan. Smithsonian Folkways Recordings.

A map of the Mississippi Delta illustrates the right side of the slide. Names of various well-known blues musicians appear in light blue boxes; each name connects with a line to a specific area of the Delta.

Watch this video...

...from the Smithsonian Channel, which provides more information about the birthplace and evolution of the Mississippi Delta Blues (the form of country blues that developed in this region).

Where to Sell Your Soul for the Delta Blues, by Smithsonian Channel.

Discussion

Why do you think the producers of this video referred to the Mississippi Delta region (Clarksdale specifically) as "ground zero" for the blues?

What did you learn from this video that was new or interesting?  

Attentive Listening: Delta Blues

Let's listen to an example of what is called the Mississippi Delta Blues: "Married Woman Blues," by Big Joe Williams.

How does Big Joe Williams use musical elements and expressive qualities?

Big Joe Williams, unknown photographer. Folkways Records.

Big Joe Williams, a beefy blues singer, mouth open and a full-size guitar beneath his fingers sings into a microphone. He wears a loud patterned long-sleeved buttoned shirt.

Listening for Delta Blues Characteristics

Listen to "Married Woman Blues" again:​

Check off the musical and stylistic characteristics you hear.

Optional: Compare and Contrast

The "Delta" blues is one distinct type of country blues.

If time allows, discuss musical and stylistic differences between the Delta blues example and the country blues example you heard earlier.

"Married Woman Blues," by Big Joe Williams​

"Low Down Rounder's Blues," by Peg Leg Howell

Women in the Country Blues

Often, we highlight male musicians when we talk about the country blues. Women, however, played the country blues too.

We'll hear more from these women throughout this Music Pathway, but let's listen to a listen sample of their music now!

Elizabeth Cotten, from North Carolina, was known for her guitar picking skills.

Memphis Minnie (Elizabeth Douglas), from Memphis, TN, was known for her unique vocal and guitar style.

Images: Elizabeth Cotten with Guitar, by John Cohen. Folkways Records. Memphis Minnie, by. National Musuem of American History.

Two small circular portraits illustrate this slide. Top: Elizabeth Cotton plays her guitar.
Bottom: Memphis Minne holds a guitar in the typical style. The neck of her guitar extends to her left (the slide’s right). She stands in front of a microphone wearing a white dress with short puffy sleeves.

Relationships Between Blues Styles

Country Blues

1920s

Urban Blues

1930s and Beyond

Learning Checkpoint

  • In what type of environment did the country blues develop?​

  • ​What are some musical and stylistic characteristics of the distinct form of country blues known as the Delta blues?

  • Who were some important country blues musicians?

End of Path 1: Where will you go next?

UNDER CONSTRUCTION

Path 2

The Tub, Harmonica, and Diddley Bow

25+ minutes

Beale Street, by Arthur Leipzig. National Museum of African American History and Culture.

A black and white photograph of an unidentified group of performers. At the left stands a woman with both hands raised. She wears a dark top tucked into a knee-length skirt. A man in a suit sits on a wooden chair playing a piano. A drum, a wide-brimmed hat and a coat rest on the back of the piano. Another man in the center whose raised foot rests on a washtub bass stands facing the camera. Two women, one plaaying a banjo and the other who seems to be dancing stand to his right.

Attentive Listening: Country Blues Instruments

In rural America, musicians have often made use of household tools to create instruments.

As you listen to an excerpt from this 1950 audio recording of a song called "Salty Dog Blues," think about this question:

What instruments do you hear?  

"Salty Dog Blues," by Red Willie Smith

Guitar and "Tub"

The song you just heard was played on guitar and sung by "Red" Willie Smith. He was accompanied by fellow musician Huston Townsend on a homemade instrument called "tub" (i.e. washtub bass).

Left: Washtub Bass, unknown maker. National Museum of American History.

Right: Red Willie Smith with Guitar, by Harold Courlander. Folkways Records.

The photo on the left side of the slide shows an instrument called a “tub” or a washtub bass, which is constructed by turning a metal wash tub upside down and connecting it to a long stick with a string that extends from the top of the stick to the center of the tub. The sound changes as the stick moves back and forth while the string is plucked by the musician’s finger.
Red Willie Smith sits on a wooden structure playing a guitar. His lips seem to be singing. He wears long pants, a plaid shirt, a derby hat, and leather boots. A small girl stands behind him in the shadow.

Generally Speaking .....

Origins of the Tub

African Earth Bow Diagram, by Harold Courlander. Folkways Records.

This simple pencil drawing illustrates an earth bow on the grass.

"American" Tub

The "American" version of this instrument is constructed in the following way:

  • A washtub is inverted, and a cord is attached to its bottom, which acts as a sounding board.

  • A stiff stick, usually a broomstick about four feet long, is braced against the lip at the outer diameter of the tub, and the string is attached to its upper end.

  • The tub is played in precisely the same manner as the earth bow: the string is usually plucked with the thumb and forefinger, or sometimes tapped with a stick.

American Washtub, by Harold Courlander. Folkways Records.

This pencil drawing depicts an American washtub sitting in the grass. A small flower decorates the foreground.

Text

It is interesting to observe how the tub tradition has evolved over time.

Evolution of the Tub

Above: Beale Street, by Arthur Leipzig. National Museum of African American History and Culture.

 

A black and white photograph of six performers. A woman in a dark top and knee-length skirt stands to the left of an upright piano along the wall. A drum, a hat, and a coat rest on top of the piano. At the center a man with his foot resting on a washtub stares directly at the camera.

Below: George Morrow, Max Roach, Sonny Rollins, and Kenny Dorham on Stage, by Gertrude Abercrombie. Archives of American Art.

Four performers appear  on stage in this black and white photograph. On the left, one performer stands with his back to the camera holding a standing bass. Another photographed from the side plays the drum.

Right: Upright Acoustic Double Bass, unknown maker. National Museum of African American History and Culture.

The instrument is shown in full and in color.

Engaged and Attentive Listening: "Salty Dog Blues"

Let's return to the recording of "Salty Dog Blues."

This time, listen specifically for the sound of the tub.

Can you tap along with the steady beat?

How would you describe the sound of the tub?

"Salty Dog Blues," by Red Willie Smith

More Attentive Listening

Let's listen to an excerpt from a different recording.

What instruments do you hear?​

What type of music is this?

"I'm So Glad that Trouble Won't Last Always," by Elder Roma Wilson

Voice and Harmonica

The recording you just listened to featured a solo male voice and harmonica. 

The musician, Elder Roma Wilson, was a Pentecostal preacher and self-taught singer / harmonica player. He is primarily known as a gospel musician.

Left: Blues Harp Harmonica, by M. Hohner.
National Museum of American History.

Right: Elder Roma Wilson, by Chris
Strachwitz. Arhoolie Records.

This  metal-face blues harmonica is depicted horizontally. It appears well-used since small dents are evident.
Elder Roma holds a microphone and harmonica close to his mouth with both hands. He wears a navy blue suit, white shirt, and glasses.

The Harmonica and the Blues

Harmonica virtuoso Phil Wiggins explains the importance of the harmonica in the blues: “The harmonica was basically a European instrument, I mean, ... they played waltzes and marches and things like that on it. And when black people took hold of it [the harmonica], they immediately wanted to have them vocalize, have them imitate your voice, have them express emotion and feeling the way your voice can ... bending the notes is the way that you slur the notes in order to imitate your voice and to be really expressive. And the combination of using your hands to shape the notes as they come out, and bending the notes, makes the harmonica imitate our voice in a clear way."

Phil Wiggins Plays the Blues Harmonica, by David Hobson. Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution

Phil Wiggins stands in front of a microphone holding a harmonica close to his mouth with both hands. He wears a red and white shirt tucked partially into brown pants and wears a derby hat. The elbow of the musician who stands to his right can be seen at the edge of the photograph.

"The Midnight Special"

Phil Wiggins and Mark Puryear - "The Midnight Special" [Live at Smithsonian Folkways | June 2015], by Smithsonian Folkways Recordings.

Big Mama Thornton

While not a performer in the country blues style, blueswoman Big Mama Thornton was raised in the South—Alabama—where she acquired her vocal style and learned to play the harmonica.

Do you hear any characteristics of country/Delta blues in Big Mama Thornton’s song “I Need Your Love"?

Big Mama Thornton playing harmonica with John Lee Hooker, photograph by Chris Strachwitz. The Arhoolie Foundation.

Big Mama Thornton wearing a plaid shirt tucked into a knee-length skirt and a plaid hat plays the harmonica with four musicians who stand to her left. One appears to play the harmonica. The other three, wearing suits, appear to be dancing and clapping their hands.

 

Delta Blues Characteristics

 

The Diddley Bow

The diddley bow is another single-stringed instrument that influenced the development of blues music in the United States.

This instrument could be found on the porch of many rural houses in the South, as it was easy to construct, consisting of a tight rope fixed to a wooden board or even to the wall of the house. It was played by pinching or rubbing the string with a bottleneck, knife, or iron thimble. The variations were many.

Diddley Bow Dulcimer, made by Compton Jones. National Museum of American History.

The diddly bow pictured consists of a long piece of wood with a tight string that extends from one end to the other.

Diddley Bow in Action

Ethnomusicologist Alan Lomax collected video footage of Lonnie Pitchford, a country blues musician who transferred his skills on the acoustic and electric guitar to the one-string diddley bow.

Watch this video of Lonnie Pitchford playing diddley bow for a few children in his hometown in Mississippi in 1978.

Lonnie Pitchford: Diddley-Bow Tune #2, Alan Lomax Archive.

The diddly bow seen on the previous slide is pictured here.
The blues harmonica is pictured here.
A single washtub is pictured here.

Optional Closing Discussion

Think about the instruments you learned about in this Path:

Why do you think they were popular among country blues musicians and in some cases continued to be used in urban areas as well?

Learning Checkpoint

  • What are three important instruments that have been associated with country blues styles?​

  • Why were these instruments used?

End of Path 2: Where will you go next?

UNDER CONSTRUCTION

Path 3

Pickin' and Slidin'

20+ minutes

Etta Baker, by David Holt. The Etta Baker Project.

Etta Baker holds a guitar. She is pictured from the waist up wearing a long-sleeved white shirt with a scarf worn loosely around her neck. She has dark hair, glasses, and a pleasant smile on her face.

Country Blues Instruments: The Guitar

Dobro Guitar, made by John Dopyera. National Museum of American History.

In Path 2, we explored three instruments that are associated with country blues styles: The tub, harmonica, and diddley bow.

The guitar is another important instrument associated with many styles of blues music.

Specifically, the "Dobro" guitar was the most influential instrument in the development of early "rural" blues styles.

This type of guitar has a metal (or wood and metal) resonance chamber and is smaller than the traditional guitar. It produces a distinct, clanking, high-pitched sound.

This dobro guitar varies from a traditional guitar since it has a large metal chamber with holes placed in its center.

Attentive Listening: The Guitar

Listen to an excerpt from a song called "Sun Goin’ Down," recorded by a famous Delta blues musician, Son House.

How would you describe the style that Son House uses to play the guitar?

"Sun Goin' Down," by Son House

This black and white photo of Son House shows him from the waist up holding a dobro guitar. He wears a white shirt and smiles as he faces the camera.

Son House, unknown photographer. {PD-old-70-expired}, via Wikimedia Commons.  

Attentive Listening: Slidin'

Son House played the guitar in a unique way:

Listen again for this "sliding" technique:

With his right hand, he strummed the strings energetically.

With his left hand, he used a “slide” to change / bend the pitch of the notes.

"Sun Goin' Down," by Son House

Optional Listening Activity: Part 1

Conduct an in-depth analysis of "Sun Goin' Down" - which is an example of the Delta blues.

 

Delta Blues Characteristics

 

The Piedmont Blues

Watch this short video to learn about another type of country blues that is associated with a unique guitar playing style, called the Piedmont blues.

Dog Days of August, featuring John Cephas and Phil Wiggins. Smithsonian Folkways Recordings.

The Piedmont Blues

According to the musicians we just watched, the Piedmont blues is distinguished by technique and where it originated​.

Piedmont Region, by Kmusser. CC-BY-SA-2.5, via Wikimedia Commons.

This style of blues originated near the Appalachian mountains.

It is associated with a thumb and fingerpicking approach.

A bass line is established with the thumb and the melody is picked out on the higher strings.

This gray and yellow map highlights the Piedmont region of the United States.

Women in the Piedmont Blues

Elizabeth Cotten and Etta Baker are two of the most well-known blueswomen who have used the Piedmont style.

Does this style sound familiar?

A small version of the photograph of Elizabeth Cotten holding her guitar is placed at the top right of the slide.
A small version of the photo of Etta Baker holding her guitar illustrates the bottom right of the slide.

Images: Elizabeth Cotten with Guitar, by John Cohen. Folkways Records. Etta Baker, by David Holt. The Etta Baker Project.

"Freight Train"

"One Dime Blues"

How would you describe the style they use to play the guitar?

Meet the Artist: Elizabeth Cotten

Elizabeth Cotten with Guitar, by John Cohen. Folkways Records.

This larger version of the same photograph of Elizabeth Cotten shows her clearly holding her left-handed style of guitar.

Elizabeth Cotten taught herself to play the guitar and banjo at an early age and has a unique, left-handed playing style.

She is best known for her timeless song "Freight Train."

She won a Grammy Award in 1985 when she was ninety, almost eighty years after she first began composing her own works!

Meet the Artist: Etta Baker

Etta Baker, a blues musician with African American, Native American, and European American heritage, began playing the guitar at the age of three.

Etta Baker holding her guitar stands in front of a wooden fence and a garden with flowers.

Etta played both the 6-string and the 12-string acoustic guitar and the five-string banjo. She played the blues for nearly ninety years.  

Attentive Listening: Pickin'

In her song, "One Dime Blues," Etta Baker uses a Piedmont finger-picking technique:

Listen again for this "picking" technique:

She establishes a bass line with her thumb.

She picks out a melody on the higher strings.

"One Dime Blues," by Etta Baker

A tiny version of the Etta Baker photograph is placed at the top left of the slide.

Optional Listening Activity: Part 2

Conduct an in-depth analysis of "One Dime Blues" - which is an example of the Piedmont blues.

Reflection: Personal Preferences

Which style​ of guitar playing did you prefer, and why?

​If you completed the optional listening activity, you can use your compare / contrast worksheet to guide you in making this decision.

  1. Strumming and Sliding (Son House)?
  2. Finger Picking (Etta Baker)?

Learning Checkpoint

  • What is the Piedmont blues and where did it originate?​

  • ​What are two distinct guitar playing styles that are associated with the Delta and Piedmont blues (two types of country blues traditions)?​

End of Path 3 and Lesson Hub 5: Where will you go next?

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Cajun and Zydeco Music Pathway: Lesson Hub 8, Path 2

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UNDER CONSTRUCTION

Lesson 5 Media Credits

Audio courtesy of​

Smithsonian Folkways Recordings


Video courtesy of​

Smithsonian Folkways Recordings

Smithsonian Channel

Alan Lomax Archive


Images courtesy of

The Appalachian Regional Commission

Archives of American Art

The Arhoolie Foundation

The Etta Baker Project

David LaFevor

Library of Congress

National Museum of African American History and Culture

National Museum of American History

Smithsonian Folkways Recordings

© 2026 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 Grammy Museum Grant and 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 5 landing page.

Lesson 5 Media Credits