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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]
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] In the following examples each box ...
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 ...
"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
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".
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.
A 12-bar blues in B ♭ built on a short riff similar to one later used in "Raise Four". Monk recorded it only once, in the afternoon session on October 31, 1964, for the album Solo Monk . The recording session was in Los Angeles during a West Coast tour by the quartet, [ 31 ] suggesting that the title probably refers to Sunset Boulevard.
A common type of three-chord song is the simple twelve-bar blues used in blues and rock and roll. Typically, the three chords used are the chords on the tonic, subdominant, and dominant (scale degrees I, IV and V): in the key of C, these would be the C, F and G chords. Sometimes the V 7 chord is used instead of V, for greater tension.
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