I'm Leaving You Chester Burnett (Howlin' Wolf) 1658 Chicago

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  • Created by: HollzF97
  • Created on: 03-04-14 19:28
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  • I'm Leaving You Chester Burnett (Howlin' Wolf) 1658 Chicago
    • Structure
      • Twelve bar blues structure
      • Six choruses, strophic form (same music, different words)
      • Use of intro, instrumental and coda
    • Tonality
      • In G major but use of blue note (Bb) sometimes gives the impression of G minor
    • Harmony
      • 12 bar blues progressions throughout using chords I, IV & V
      • Use of 7th and 9th chords
      • Blues scale
      • Minor pentatonic
    • Texture
      • Melody-dominated homophony, with stop choruses
    • Resources
      • Predominantly syllabic with slurred passages
      • Soulful singing style typical of Chicago rhythm and blues
      • Use of harmonica; lead and rhythm guitars; piano; bass and drums
      • Performance techniques include: pitch bends; Glissandos; Double/triple stopping in guitar part
      • Harmonica plays two or three note chords
    • Other
      • In the 1950's Wolf had four songs that qualified as "hits" on the Billboard national R&B charts: "How Many More Years", his first and biggest hit, made it to #4 in 1951: it's flip side, "Moanin' at Midnight", made it to #10 the same year
        • "Smokestack Lightning" charted for three weeks in 1956, peaking at #8; and "I asked For Water (she gave me gasoline)" appeared on the charts for one week in 1956, in the #8 position
      • I'm leaving You was written by the black American blues singer Chester Burnett who was famous for keeping alive the impassioned vocal style of Chicago rhythm and blues
    • Rhythm
      • 4/4 time with swung quavers
      • Typical features include: backbeat; triplets in the piano part;semi quavers in the lead guitar fills resulting in cross-rhythms
      • Longer note lengths in the instrumental - from bar 39
      • Stop rhythm
    • Melody
      • Vocal range of an octave
      • Use of blue notes (Bb)
      • Opening piano improvisation based around the minor pentatonic scale on G
      • Irregular phrase lengths
      • Melodic variations in each verse due to improvisation
      • Use of ****/ vocalisations  (nonsense syllables)




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