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Crump" to "Memphis Blues. By , when he was 40, he had established his musical style, his popularity had greatly increased, and he was a prolific composer.
Handy wrote about using folk songs:. The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor.
Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man.
I tried to convey this effect This was a distinct departure, but as it turned out, it touched the spot. The three-line structure I employed in my lyric was suggested by a song I heard Phil Jones sing in Evansville While I took the three-line stanza as a model for my lyric, I found its repetition too monotonous Consequently I adopted the style of making a statement, repeating the statement in the second line, and then telling in the third line why the statement was made.
Regarding the "three-chord basic harmonic structure" of the blues, Handy wrote that the " tonic, subdominant, dominant seventh was that already used by Negro roustabouts, honky-tonk piano players, wanderers and others of the underprivileged but undaunted class from Missouri to the Gulf, and had become a common medium through which any such individual might express his personal feeling in a sort of musical soliloquy.
This meant that in writing a melody to be sung in the blues manner one would have to provide gaps or waits. The one-step and other dances had been done to the tempo of Memphis Blues.
When St Louis Blues was written the tango was in vogue. I tricked the dancers by arranging a tango introduction, breaking abruptly into a low-down blues.
My eyes swept the floor anxiously, then suddenly I saw lightning strike. The dancers seemed electrified.
Something within them came suddenly to life. An instinct that wanted so much to live, to fling its arms to spread joy, took them by the heels.
His published musical works were groundbreaking because of his ethnicity. Pace was the valedictorian of his graduating class at Atlanta University and a student of W.
By the time of their meeting, Pace had already demonstrated a strong understanding of business. He earned his reputation by saving failing businesses.
I was under the impression that these Negro musicians would jump at the chance to patronize one of their own publishers. The Negro musicians simply played the hits of the day They followed the parade.
Many white bands and orchestra leaders, on the other hand, were on the alert for novelties. They were therefore the ones most ready to introduce our numbers.
The result was that these performers became our most effective pluggers. In , he and his publishing business moved to New York City, where he had offices in the Gaiety Theatre office building in Times Square.
That year the Original Dixieland Jazz Band , a white New Orleans jazz ensemble, had recorded the first jazz record, introducing the style to a wide segment of the American public.
Handy had little fondness for jazz, but bands dove into his repertoire with enthusiasm, making many of them jazz standards.
Handy encouraged performers such as Al Bernard , "a young white man" with a "soft Southern accent" who "could sing all my Blues".
He sent Bernard to Thomas Edison to be recorded, which resulted in "an impressive series of successes for the young artist, successes in which we proudly shared.
These numbers, plus our blues, gave us a reputation as publishers of Negro music. Expecting to make only "another hundred or so" of " Yellow Dog Blues " originally entitled "Yellow Dog Rag" ,  Handy signed a deal with the Victor company.
Handy tried to interest black women singers in his music but was unsuccessful. In Pace amicably dissolved his partnership with Handy, with whom he also collaborated as lyricist.
He published works of other black composers as well as his own, which included more than sacred compositions and folk song arrangements and about 60 blues compositions.
So successful was "Saint Louis Blues" that in he and director Dudley Murphy collaborated on a RCA motion picture of the same name, which was to be shown before the main attraction.
Handy suggested blues singer Bessie Smith for the starring role because the song had made her popular.
The movie was filmed in June and was shown in movie houses throughout the United States from to In Handy wrote Blues: It is an early attempt to record, analyze, and describe the blues as an integral part of the South and the history of the United States.
After the publication of his autobiography, Handy published a book on African-American musicians, Unsung Americans Sung He wrote three other books: He became blind after an accidental fall from a subway platform in After the death of his first wife, he remarried in when he was His bride was his secretary, Irma Louise Logan, who he frequently said had become his eyes.
In , he suffered a stroke, after which he began to use a wheelchair. More than eight hundred attended his 84th birthday party at the Waldorf-Astoria Hotel.
Over , people gathered in the streets near the church to pay their respects. He was buried in Woodlawn Cemetery in the Bronx.
From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
Unsourced material may be challenged and removed. The Song of ". BBC News - Magazine. Retrieved 30 May Reading Exercises in Black History Vol.
An Illustrated Guide to the Cradle of Freedom. University of Alabama Press. Retrieved 20 November Father of the Blues: Retrieved January 22, On the Trail of Negro Folk-Songs.
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