The Relationship Between the Melodic-Harmonic Divorce in Blues-Based Rock, theStructure of Blue Tonality, and the Blue Tonality Shift

This thesis proposes an alternative explanation for the melodic-harmonic divorce cited in the blues-based examples from David Temperley’s “The Melodic-Harmonic `Divorce’ in Rock” and Drew Nobile’s “Counterpoint in Rock Music: Unpacking the `Melodic-Harmonic Divorce.’” To support this argument, I will synthesize, adapt, and expand the work of Gerhard Kubik, Peter Van Der Merwe, Jeff Todd Titon, and Nicholas Stoia in order to define the basic tenets of blue tonality. I will then contrast those principles with those of Western common practice tonality (Bach to Brahms) in order to develop a system that demonstrates when a blue tonality shift becomes the more appropriate model for a musical passage rather than melodic-harmonic divorce. I will conclude by presenting analyses of the following blues-based songs using the blue tonality shift system:1. “Jumpin’ Jack Flash” by The Rolling Stones2. “Rockin’ Me Baby” by The Steve Miller Band3. “Takin’ Care of Business” by Bachman Turner Overdrive4. “When a Man Loves a Woman” by Percy Sledge5. “Rollin’ & Tumblin” by Muddy Waters6. “Baby, You Can Drive My Car” by The Beatles