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His musical style was influenced by the church music he sang and played in his youth and by the sounds of nature. He cited as inspiration the "whippoorwills, bats and hoot owls and their outlandish noises", Cypress Creek washing on the fringes of the woodland, and "the music of every songbird and all the symphonies of their unpremeditated art".

He worked on a "shovel brigade" at the McNabb furnace and described the music made by the workers as they beat shovels, altering the tone while thrusting and withdrawing the metal part against the iron buggies to pass the time while waiting for the overfilled furnace to digest its ore.

He called the sound "better to us than the music of a martial drum corps, and our rhythms were far more complicated.

They accompany themselves on anything from which they can extract a musical sound or rhythmical effect. In September , Handy travelled to Birmingham, Alabama , to take a teaching exam.

He passed it easily and gained a teaching job at the Teachers Agriculture and Mechanical College in Huntsville.

In his time off from his job, he organized a small string orchestra and taught musicians how to read music. He later organized the Lauzetta Quartet.

To pay their way, they performed odd jobs along the way. Next they headed to St. Louis, Missouri, but found working conditions were bad.

After the quartet disbanded, Handy went to Evansville, Indiana. In Evansville, he joined a successful band that performed throughout neighboring cities and states.

His musical endeavors were varied: Returning from Cuba the band traveled north through Alabama, where they stopped to perform in Huntsville.

Weary of life on the road, he and his wife, Elizabeth, stayed with relatives in his nearby hometown of Florence. They married on July 19, She gave birth to Lucille, the first of their six children, on June 29, , after they had settled in Florence.

He became a faculty member in September and taught through much of He was disheartened to discover that the college emphasized teaching European music considered to be "classical".

He felt he was underpaid and could make more money touring with a minstrel group. In Handy traveled throughout Mississippi, listening to various styles of popular black music.

The state was mostly rural and music was part of the culture, especially in cotton plantations in the Mississippi Delta. Musicians usually played guitar or banjo or, to a much lesser extent, piano.

In he became the director of a black band organized by the Knights of Pythias in Clarksdale, Mississippi. Handy and his family lived there for six years.

In , while waiting for a train in Tutwiler , in the Mississippi Delta, Handy had the following experience:. A lean loose-jointed Negro had commenced plunking a guitar beside me while I slept As he played, he pressed a knife on the strings of the guitar in a manner popularized by Hawaiian guitarists who used steel bars The singer repeated the line three times, accompanying himself on the guitar with the weirdest music I had ever heard.

About , while playing a dance in Cleveland, Mississippi , Handy was given a note asking for "our native music". Three young men with a battered guitar, mandolin, and a worn-out bass walked onto the stage.

They struck up one of those over and over strains that seem to have no beginning and certainly no ending at all. The strumming attained a disturbing monotony, but on and on it went, a kind of stuff associated with [sugar] cane rows and levee camps.

Thump-thump-thump went their feet on the floor. It was not really annoying or unpleasant. Perhaps "haunting" is the better word. Handy noted square dancing by Mississippi blacks with "one of their own calling the figures, and crooning all of his calls in the key of G.

Handy later rewrote the tune and changed its name from "Mr. 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.

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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" , [25] 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.

In recounting the same story to Dorthy Scarborough about , Handy remembered a banjo, guitar, and fiddle. All shipments with tracking number can tracked approx.

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All our products are shipped directly from China to ensure lower prices for you. However, goods are subject to VAT levied in your home country.

Usually, these costs amount to approx. Edit Cart Proceed to Checkout. Home Smartphones Show All Smartphones. Huawei Meizu Nokia Oppo Xiaomi. Apple iPhone Digitizer Cases.

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China mobile phones are the smart choice! No contract, no SIM Lock, no problem! Express shipping option available with DHL Worldwide. Order from us without worries: If you choose shipping option Europe Priority Line there are no additional import costs!

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