“Dippermouth Blues”

Abstract

This chapter discusses Joe Oliver’s influence on Armstrong and his advice to play more melody rather than playing “snakes.” It also discusses the breaks that Oliver and Armstrong made in Chicago and how this became a sensation. The break that opens “Dippermouth Blues” is a tonic-diminished break derived from barbershop harmony. This chapter also discusses how the melody and solo relate to blues scales and how blues scales relate to barbershop practice in relation to the analysis of Winthrop Sargeant’s tetrachords.