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The basic progression for a 12-bar blues may be represented in several ways. It is shown in its simplest form, without the common "quick change", turnarounds, or seventh chords. For variations, see the following section. Chord notation in the key of C: [4]
The Blues for Alice changes, Bird changes, Bird Blues, or New York Blues changes, is a chord progression, often named after Charlie Parker ("Bird"), which is a variation of the twelve-bar blues. The progression uses a series of sequential ii–V or secondary ii–V progressions, and has been used in pieces such as Parker's " Blues for Alice ".
This is a plagal cadence featuring a dominant seventh tonic (I or V/IV) chord. However, Baker cites a turnaround containing "How Dry I Am" as the "absolutely most commonly used blues turnaround". [5] Fischer describes the turnaround as the last two measures of the blues form, or I 7 and V 7, with variations including I 7 –IV 7 –I 7 –V 7. [6]
In rock and blues, musicians also often refer to chord progressions using Roman numerals, as this facilitates transposing a song to a new key. For example, rock and blues musicians often think of the 12-bar blues as consisting of I, IV, and V chords. Thus, a simple version of the 12-bar blues might be expressed as I–I–I–I, IV–IV–I–I ...
The sixteen-bar blues can be a variation on the standard twelve-bar blues or on the ... subdominant, and tonic chords (bars 9, 10, and 11–12, respectively) are ...
Eight-bar blues: I–V–IV–IV–I–V–I–V: 3: Major Folia: i–V–i– ♭ VII– ♭ III– ♭ VII–i–V–i–V–i– ♭ VII– ♭ III– ♭ VII–i–V–i: 4: Minor Irregular resolution (Type I: Two common tones, two note moves by half step motion) V7–III7: 2: Major Montgomery–Ward bridge: I–IV–ii–V: 4: Major ...
Peterson thought of Charlie Parker’s exuberant 12-bar blues “Relaxin’ at Camarillo.” It was more than a standout tune to him — it was a code: Camarillo was the state mental hospital where in the 1940s Parker had been sent to address his own heroin addiction.
In bars 8–10, instead of leading back to the tonic with the standard V–IV–I (blues cadence), a series of applied ii–V–I progressions is used to first lead to Gm, which then itself is reinterpreted as a ii and used to lead back to F 7 through its own V, which is C 7.