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Blue note

A blue note is a musical note in , , and related genres that is intentionally sung or played at a slightly flattened compared to the standard , creating an expressive microtonal inflection often between major and minor intervals for emotional depth. These notes, typically affecting the third, fifth, and seventh degrees of a major (resulting in a flat third, flat fifth, or flat seventh), introduce dissonance and soulfulness, distinguishing the idiomatic sound of from European-derived . Originating in African American musical traditions during the in the , blue notes evolved from , work songs, and field hollers, blending West African scalar practices—such as just intonation ratios like 6/5 for the —with the constraints of European 12-tone systems imposed through slavery and instrumentation. Empirical analyses of early recordings, such as those by and , reveal pitch clusters around 319 cents (neutral third), 583 cents (flat fifth or blend), and 1038 cents (flat seventh), confirming their microtonal nature rather than simple chromatic alterations. In , they form the core of the pentatonic and enable vocal bending for raw expression, while in , they facilitate and harmonic tension, as seen in mediant mixtures where pitches oscillate between flat and natural degrees. Blue notes extended beyond blues and jazz into gospel, rhythm and blues, rock, and soul by the mid-20th century, influencing artists from to , where pitch-tracking studies identify intentional neutral thirds in about 7% of notes for stylistic effect. Their cultural significance lies in conveying "worried" or poignant emotions, rooted in historical resilience, and modern research using algorithms like pYIN continues to quantify these inflections, highlighting deviations of 20–50 cents from tempered pitches.

Definition and Characteristics

Musical Definition

A blue note is a note that is sung or played at a slightly flattened pitch compared to the standard major scale, often microtonally positioned between a minor and major third, fifth, or seventh degree, to convey expressive emotion in blues and jazz music. These notes, also known as bent notes or worried notes, introduce a sense of tension and melancholy through subtle pitch deviations that are not fixed to equal-tempered semitones but vary in performance for idiomatic effect. Primarily, blue notes occur on the flattened third (♭3), flattened fifth (♭5), and flattened seventh (♭7) degrees relative to the major scale, creating dissonant clashes when overlaid on major harmonies. The , a foundational structure incorporating , is a derived from the minor pentatonic by adding a chromatic passing , typically formulated as 1–♭3–4–♭5 (or ♯4)–5–♭7. In this , the ♭3, ♭5, and ♭7 function as the primary , providing the characteristic "" inflection through their lowered positions and potential for microtonal bending. This structure allows for fluid , where the ♭5 acts as a pivotal "outside" that heightens expressivity before resolving to adjacent . For example, in the key of , the C blues scale consists of the notes C–E♭–F–G♭–G–B♭, where E♭ (♭3), G♭ (♭5), and B♭ (♭7) serve as blue notes that performers often execute with variable intonation, such as sliding or bending to pitches between E and E♭ or G and G♭. These notations represent approximations in Western staff notation, but in practice, blue notes emphasize performative nuance over precise semitonal placement. The term "blue note" emerged in early 20th-century jazz and blues discourse, with attestations dating to 1919, and became established in musical literature by the mid-1920s; alternative names like "worried note" or "bent note" reflect its emotional and technical connotations.

Acoustic Features

Blue notes exhibit microtonal deviations from the pitches of equal temperament, often involving bends of approximately 20-50 cents, such as the flat third positioned around 300-350 cents above the root compared to the 300-cent minor third in equal temperament. These deviations create perceptual tension and release through subtle dissonance with surrounding harmonies, evoking a sense of melancholy or intensity, and are frequently enhanced by vibrato or glissando during performance. On instruments capable of continuous pitch variation, such as guitar via string bending, voice through natural inflection, or wind instruments like the trumpet using lipping techniques, blue notes achieve precise microtonal expression; fixed-pitch instruments like the piano render them less accurately, often approximating via rapid note clusters or grace notes. The basic waveform of blue notes, analyzed via fast Fourier transform, reveals fundamental frequencies derived from the first four harmonics, with microtonal tuning aligning closely to just intonation ratios (e.g., 6/5 for the minor third at approximately 319 cents), though bending introduces dynamic pitch modulation that distinguishes the "blue" timbre from the static harmonics of tempered scales.

Historical Origins

African and Folk Roots

The origins of the blue note trace back to West musical traditions, where pentatonic scales and systems underpin vocal and instrumental practices in music, field hollers, and early forms. Ethnomusicologist Gerhard Kubik identifies these elements as foundational, noting that heterophonic textures in such music allow performers to introduce natural pitch inflections, creating intervals that deviate from and align with the expressive "worried" or bent quality of blue notes. These inflections stem from acoustic principles inherent to , rather than alterations of scales, and were carried across by enslaved people. Specific examples appear in the vocal styles of West African ethnic groups, including the Yoruba, Akan, and , where neutral thirds—pitches approximately midway between thirds, around 350 cents—are prevalent for emotional expression. Kubik and other scholars link these neutral intervals directly to the microtonal foundation of blue notes, as seen in call-and-response and melodic ornamentation that prioritize timbral and intonational nuance over fixed pitches. Among enslaved Africans in the , these practices persisted in ring shouts and work songs, which featured overlapping heterophonic lines and variable intonation to convey communal resilience and sorrow. European folk traditions provided parallel influences through modal inflections in ballads from , , and . Songs in the , characterized by a flattened third and seventh relative to the , created a melancholic akin to proto-blue notes; for instance, the 16th-century English ballad "" employs such modal structure, blending elements in its melody. These flattened thirds in folk repertoires, often notated in early collections, reflect pre-tonal intonation practices that resonated with African-derived expressions. By the early , these African and folk roots converged in African American spirituals, where transcribed notations reveal proto-blue notes through pentatonic frameworks and implied bends. The spiritual "," first documented around 1872 and attributed to , exemplifies this in its melodic contour, with performance traditions incorporating neutral inflections despite diatonic transcriptions.

Emergence in American Blues and Jazz

The blue note emerged prominently in American music during the early through the tradition of the region, where performers in the 1910s and 1920s incorporated vocal bends and inflections that deviated from standard pitches, evoking emotional depth rooted in African American work songs and . Artists such as and exemplified this style, using raw, emotive vocal techniques in their performances, as documented in early field recordings that captured the gritty, microtonal nuances of singing. A pivotal milestone came with W.C. Handy's publication of "Memphis Blues" in 1912, the first widely recognized printed blues composition, which explicitly introduced flat thirds and sevenths—now known as blue notes—to notate the idiomatic pitch alterations heard in performances, blending them into a major-key framework to convey melancholy and resilience. As African American musicians migrated northward during the Great Migration from the 1910s to the 1930s, blue notes transitioned into urban blues and early jazz scenes, particularly in Chicago, where the style evolved into a more structured, ensemble-based form. In the 1920s Chicago blues, vocalists like Bessie Smith showcased blue notes through expressive bends and slides in recordings such as her 1925 rendition of "St. Louis Blues," which highlighted pitch deviations on the third and seventh degrees, amplifying the song's themes of longing and urban alienation. Concurrently, Louis Armstrong integrated blue notes into jazz via scat singing and horn inflections in his 1920s Hot Five recordings, employing flatted thirds and sevenths on cornet to mimic vocal blues phrasing and add improvisational color, as heard in tracks like "Gut Bucket Blues." This northward movement of over six million African Americans, including key musicians, urbanized the blues, fostering venues and recording opportunities that spread these pitch elements to broader audiences. Recording milestones in the 1920s further solidified blue notes' role, with the first commercial blues releases—such as Mamie Smith's "Crazy Blues" in 1920—demonstrating audible pitch deviations, particularly bent thirds over major chords, which distinguished blues from ragtime and marked its commercial viability. By the 1930s, blue notes permeated big band jazz improvisations during the swing era, as ensembles like Count Basie's incorporated bluesy bends and chord progressions into riffs and solos, evident in pieces like "One O'Clock Jump," where blue notes infused the music with rhythmic drive and emotional intensity drawn from Delta origins. This integration helped swing become a national phenomenon, bridging rural blues expressions with urban jazz sophistication.

Theoretical Foundations

Pitch Alteration and Intonation

Blue notes involve pitch alterations that deviate from the standardized 12-tone equal temperament (12-TET) system prevalent in Western music, often drawing from just intonation principles based on simple frequency ratios between notes. In just intonation, the flattened third (♭3) typically corresponds to the 6/5 ratio, yielding approximately 315.6 cents above the root note; the flattened seventh (♭7) aligns with the 16/9 ratio at about 996.1 cents; and the flattened fifth (♭5) matches the 7/5 ratio, around 582.5 cents. These ratios foster a sense of consonance through harmonic purity, contrasting with 12-TET's fixed intervals of 300 cents for the minor third, 600 cents for the ♭5 (tritone), and 1000 cents for the minor seventh, which performers often inflect to approximate just intonation through microtonal adjustments. Empirical analyses of historical blues recordings demonstrate the microtonal variability inherent in blue note intonation, revealing pitches that cluster near just intonation values rather than rigid 12-TET positions. A 2019 study examining 15 performances by early blues masters from the late to the found the ♭3 averaging 319.1 cents with clusters spanning 310–340 cents (overall 256.8–359.1 cents), the ♭5 at a of 582.8 cents ( 562.6–606.3 cents), and the ♭7 showing multiple clusters around 979 cents and 1038 cents. These distributions highlight the fluid, expressive nature of blue notes, where singers and instrumentalists employ subtle bends and slides to navigate between approximate just ratios, as identified through frequency sampling and . The pitch deviations in blue notes are mathematically represented using the cent scale, a logarithmic measure that standardizes interval sizes across tuning systems: \text{cents} = 1200 \times \log_2 \left( \frac{f_{\text{blue}}}{f_{\text{standard}}} \right) Here, f_{\text{blue}} denotes the observed frequency of the blue note, and f_{\text{standard}} is the frequency of the nearest 12-TET , enabling quantitative assessment of microtonal inflections in recordings.

Harmonic and Melodic Functions

Blue notes primarily function harmonically by introducing dissonance against major triad-based chords, particularly the flattened third (♭3) over the tonic (I) chord, which creates a characteristic tension often described as the "blue third." This dissonance arises because the ♭3 clashes with the major third of the underlying harmony, yet it is perceived as integral to the blues tonality rather than purely unstable. In the context of dominant seventh chords common in blues progressions, such as the I7, the ♭3 adds expressive friction that resolves either to the major third for a brighter cadence or sustains as a neutral pitch for sustained ambiguity. Resolution typically occurs through plagal motion (IV to I), where the blue note's tension eases into consonance without the strong pull of a V-I authentic cadence typical in functional tonality. Melodically, blue notes serve as pivotal elements in improvisational lines and call-and-response structures, where they emphasize emotional inflection through or slides, such as the ♭3 bending up to the natural third in pentatonic runs derived from the minor blues scale. These notes often occupy ambiguous positions between scale degrees (e.g., between the third), allowing performers to navigate between minor pentatonic and major diatonic frameworks for fluid expression. In call-and-response patterns, a blue note in the antecedent (e.g., a lowered seventh) prompts a response, heightening the dialogic feel of the while maintaining forward momentum in . Within chord progressions like the 12-bar blues, blue notes integrate seamlessly with dominant seventh harmonies; for instance, the flattened seventh (♭7) aligns naturally over the V7 , reinforcing its dominant without additional dissonance, as it is inherent to the chord's structure. This compatibility extends to Mixolydian modal inflections, where the mode's built-in ♭7 provides a foundation for overlaying other blue notes like the ♭3 or ♭5, creating layered tensions that enhance the progression's cyclical stability (I7–IV7–I7–V7–IV7–I7). The thus acts as a versatile melodic resource across these changes, with blue notes functioning as passing tones or emphases that blur strict diatonic boundaries while preserving harmonic coherence.

Applications in Genres

Blues and Jazz Usage

In blues music, blue notes are prominently featured through vocal techniques such as slides and bends, which create microtonal inflections that evoke emotional depth. A classic example is Robert Johnson's 1936 recording of "," where Johnson employs vocal slides on the third degree of the scale, slurring between major and minor thirds to produce the characteristic "blue" wail, a technique rooted in African American folk singing traditions. Similarly, instrumentalists like popularized guitar bends to approximate these vocal nuances; in his 1969 hit "," King's deliberate string bends on the guitar target the flattened third and seventh, infusing the with a vocal-like expressiveness that became a hallmark of . These techniques highlight the variability of blue notes, often not fixed to exact pitches but fluctuating between semitones for idiomatic feel, as evidenced in transcriptions of Johnson's phrases where the third degree hovers approximately a quarter-tone flat. In jazz, blue notes integrate into improvisational frameworks, adding tension and color to harmonic structures. pioneer frequently incorporated them in rapid lines, as heard in his 1946 recording of "," where phrases bend the third and seventh degrees amid chromatic runs, blending inflection with the genre's angular melodicism. In , Miles Davis's 1959 track "So What" exemplifies their use through ♭3 inflections; the head melody in D features an F natural (the flattened third relative to ), which Davis subtly bends in his for bluesy pathos, emphasizing modal ambiguity over chordal resolution. Transcriptions of Parker's "" reveal variable blue note placements, such as a bent Eb in the bridge approximating a ♭5 for added dissonance, underscoring the improvisational flexibility of these pitches. Blue notes also play a key role in ensemble contexts within both genres. In blues-influenced big bands, horn sections like those in Count Basie's orchestra used them in riff-based arrangements to drive rhythmic momentum; for instance, the 1937 recording of "" features interlocking and riffs with bent thirds that propel the feel while evoking blues lament. Vocalists extended this to scatting, where blue notes mimic instrumental bends. Ella Fitzgerald's scat solos, such as her 1960 live performance of "," incorporate inflected thirds and sevenths in syllable-based lines, creating a horn-like dialogue with the band and highlighting the technique's timbral versatility. These ensemble applications demonstrate blue notes' communal function, where individual inflections coalesce into collective groove, as seen in Basie's riffs transcribed with approximate quarter-tone flats for authenticity.

Extensions to Other Styles

Blue notes have extended into rock and pop music, where guitar techniques and vocal inflections borrow from blues traditions to evoke emotional depth. In Jimi Hendrix's "Purple Haze" (1967), the guitar riff prominently features bends and the blues scale, incorporating the blue note B♭ to create a dissonant, gritty texture that distinguishes it from standard minor pentatonic lines. Similarly, ' "" (1968) integrates blue notes through Clapton's blues-inflected and vocal lines emphasizing the flat third (C natural in ), aligning with the band's broader "" of dissonant blue notes into contexts for a melancholic ballad effect. Blue notes have also influenced gospel and soul music. Gospel singers like Mahalia Jackson used vocal bends on the third and seventh degrees in spirituals such as her 1948 recording of "Move On Up a Little Higher," inflecting pitches for expressive "moans" that convey spiritual yearning, drawing directly from blues traditions. In soul, Stevie Wonder employed harmonica and keyboard bends mimicking blue notes in tracks like "Superstition" (1972), where the riff's flattened fifth adds funky tension rooted in blues scales. Classical music saw early extensions of blue notes in 20th-century crossovers blending elements with orchestral forms. George Gershwin's (1924) incorporates blue notes subtly in its lyrical slow movement, surfacing as pitch inflections in the piano and winds to nod to influences amid its symphonic structure, capturing an American musical mosaic. In the digital era, blue notes persist through production techniques that simulate traditional bends. Post-2010 EDM productions often use to mimic blue note effects, applying pitch correction with retune speeds that create gliding microtonal shifts, as in trap-influenced tracks where the software's scale settings include blues modes to evoke vocal slides without live performance. Video game soundtracks further adapt these elements, employing blues scales for atmospheric tension; for instance, Donkey Kong Country's "Forest Frenzy" (1994) uses the blues scale's flat fifth and third for a funky, adventurous groove, while Final Fantasy XIII's "Daddy's Got the Blues" (2009) directly channels Afro-blues riffs in its combat themes.

Cultural and Expressive Impact

Emotional and Symbolic Role

Blue notes play a pivotal role in evoking deep-seated emotions, particularly , , and , by introducing dissonant inflections that create tension and release within melodies. In , these altered pitches—often the flattened third, fifth, or seventh—mirror the emotional ambiguities of human experience, sliding between and tonalities to express pain while hinting at . This structure provides for performers and listeners, transforming personal and collective sorrow into a shared of emotional release, especially within African American communities facing historical oppression. The inherent in blue notes links directly to the genre's name, symbolizing a profound of the "" as an emotional state tied to hardship and . In the African American experience, this evocation serves as a form of cultural , allowing individuals to confront and transcend through musical expression that affirms and community solidarity. Blues performances, often in intimate settings like juke joints, foster this release via call-and-response interactions, turning individual longing into collective resilience. Symbolically, blue notes embody cultural , retaining West African pitch-bending traditions within Western diatonic frameworks, thus representing the syncretic of African heritage in the . This fusion underscores themes of survival and transformation, as seen in where blue notes infuse spiritual songs with ""—a raw, emotive depth that bridges lamentation and redemption. In literary contexts, blue notes resonate through and , evoking the enduring spirit amid adversity, as exemplified in ' works. Hughes employs stanza forms and melancholic imagery in poems like "," where the "moan" of melodies channels the pain of racial injustice while asserting poetic resilience.

Influence on Contemporary Music

In , blue notes continue to influence production through sampling and melodic inflections that evoke traditions, as seen in Kendrick Lamar's 2015 track "Alright," where the melody features a characteristic blue note bend from C♯3 to D3 in the . This technique adds emotional depth and cultural resonance, bridging historical with contemporary narratives. Similarly, global fusion genres incorporate blue note-like microtonal inflections rooted in musical principles. Technological advancements have integrated blue notes into digital music creation, with software like Ableton's Microtuner enabling precise microtonal adjustments for blues scales in digital audio workstations (DAWs) since its 2024 release. This tool allows producers to import and morph scales, facilitating blue note bends in electronic and hybrid genres. In AI-generated music, algorithmic models have been used to generate blues-style music by analyzing variations. Educational pedagogy in conservatories emphasizes blue notes as essential for understanding expressive intonation, with institutions like the incorporating empirical analyses of their microtonal properties into curricula to train performers in blues-derived styles. This approach fosters technical mastery and cultural awareness in 21st-century training. In film scoring, composers like employ microtonal elements akin to blue notes for tension-building motifs, as in the 2021 soundtrack's use of 0.75-semitone clusters to evoke otherworldly unease. Research addresses gaps in blue notes' role in by analyzing their prevalence through microtonal measurement in contemporary recordings, revealing their persistence in hits across and genres via streaming platforms. These studies, using pitch-tracking , demonstrate blue notes' contribution to emotional hooks in top-streamed tracks, underscoring their adaptability in algorithm-driven discovery.