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As the chords of a 12-bar blues follow a form, so does the melodic line. The melodic line might just be the melody of the piece or it might also include lyrics. The melody and lyrics frequently follow an AA'B form, meaning one phrase is played then repeated (perhaps with a slight alteration), then something new is played. [14]
12 Bar Blues's sound and style differ greatly from STP's previous releases. The design concept of the cover is a homage to the cover design of John Coltrane's Blue Train album. The album title comes from the simple chord progression known as "twelve-bar blues".
"Rock Around the Clock" is a rock and roll song in the 12-bar blues format written by Max C. Freedman and James E. Myers (the latter being under the pseudonym "Jimmy De Knight") in 1952. The best-known and most successful rendition was recorded by Bill Haley & His Comets in 1954 for Ame
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 ...
"Road Runner" is a 12-bar blues song performed by American rock and roll performer Bo Diddley, originally released as a single by Checker Records in January 1960, [1] and later released on the LP record Bo Diddley in the Spotlight. The song reached #20 on Billboard magazine's Hot R&B Sides chart, [3] and #75 on the Hot 100. [4]
"Work with Me, Annie" is a 12-bar blues song with words and music by Hank Ballard. It was recorded by Hank Ballard & the Midnighters (formerly The Royals) [1] in Cincinnati on the Federal Records label on January 14, 1954, and released the following month.
At its most basic, a single version of this blues scale is commonly used over all changes (or chords) in a twelve-bar blues progression. [7] Likewise, in contemporary jazz theory, its use is commonly based upon the key rather than the individual chord. [2] Greenblatt defines two blues scales, the major and the minor.
The blues' 12-bar structure and the blues scale was a major influence on rock and roll music. Rock and roll has been called "blues with a backbeat"; Carl Perkins called rockabilly "blues with a country beat". Rockabillies were also said to be 12-bar blues played with a bluegrass beat.