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Carter-style lick. [1] Play ⓘ In popular music genres such as country, blues, jazz or rock music, a lick is "a stock pattern or phrase" [2] consisting of a short series of notes used in solos and melodic lines and accompaniment. For musicians, learning a lick is usually a form of imitation. By imitating, musicians understand and analyze what ...
Carter Family picking, also known as the thumb brush, the Carter lick, the church lick, or the Carter scratch, [2] is a style of fingerstyle guitar named after Maybelle Carter of the Carter Family. It is a distinctive style of rhythm guitar in which the melody is played on the bass strings, usually low E, A, and D while rhythm strumming ...
The most basic three-chord progressions of Western harmony have only major chords. In each key, three chords are designated with the Roman numerals (of musical notation): The tonic (I), the subdominant (IV), and the dominant (V). While the chords of each three-chord progression are numbered (I, IV, and V), they appear in other orders. [f] [18]
These chords are similar with slight changes, but are all centered around the same key center. Dominant 7th chords are generally used throughout a blues progression. The addition of dominant 7th chords as well as the inclusion of other types of 7th chords (i.e. minor and diminished 7ths) are often used just before a change, and more changes can ...
To create lead guitar lines, guitarists use scales, modes, arpeggios, licks, and riffs that are performed using a variety of techniques. [1] In rock, heavy metal, blues, jazz and fusion bands and some pop contexts as well as others, lead guitar lines often employ alternate picking, sweep picking, economy picking and legato (e.g., hammer ons, pull offs), which are used to maximize the speed of ...
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 ".
where each cell in the table represents one measure (or "bar"), "I" represents the tonic chord, "IV" the subdominant chord, and "V" the dominant chord.Twelve-bar progressions are formed by applying one of several formulae, including the following.
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]