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There are also minor twelve-bar blues, such as John Coltrane's "Equinox" and "Mr. P.C.". [10] The chord on the fifth scale degree may be major (V 7 ) or minor (v 7 ). [ 10 ] Major and minor can also be mixed together, a signature characteristic of the music of Charles Brown .
Music journalist Richie Unterberger commented on the adaptability of blues: "From its inception, the blues has always responded to developments in popular music as a whole: the use of guitar and piano in American folk and gospel, the percussive rhythms of jazz, the lyrics of Tin Pan Alley, and the widespread use of amplification and electric ...
A major feature of the blues scale is the use of blue notes—notes that are played or sung microtonally, at a slightly higher or lower pitch than standard. [5] However, since blue notes are considered alternative inflections, a blues scale may be considered to not fit the traditional definition of a scale. [6]
Though the blues scale has "an inherent minor tonality, it is commonly 'forced' over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities". [4] A similar conflict occurs between the notes of the minor scale and the minor blues scale, as heard in songs such as "Why Don't You Do Right?", "Happy" and "Sweet About Me".
Blues is a music genre [3] and musical form that originated amongst African-Americans in the Deep South of the United States around the 1860s. [2] Blues has incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads from the African-American culture.
Eight-bar blues progressions have more variations than the more rigidly defined twelve bar format. The move to the IV chord usually happens at bar 3 (as opposed to 5 in twelve bar); however, "the I chord moving to the V chord right away, in the second measure, is a characteristic of the eight-bar blues." [1]
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Sometimes, especially in blues music, musicians will take chords which are normally minor chords and make them major. The most popular example is the I–VI–ii–V–I progression; normally, the vi chord would be a minor chord (or m 7, m 6, m ♭ 6 etc.) but here the major third makes it a secondary dominant leading to ii, i.e. V/ii.
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