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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]
The song, using the arrangement from "Blue Guitar", is a moderately-slow tempo twelve-bar blues, notated in 12/8 time in the key of D. [9] For the melody line, Muddy Waters doubled Hooker's prominent slide-guitar line, giving the song its distinctive "hook".
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.
"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
Handy later rewrote the tune and changed its name from "Mr. Crump" to "Memphis Blues." The 1912 publication of the sheet music of "The Memphis Blues" introduced his style of 12-bar blues; it was credited as the inspiration for the foxtrot by Vernon and Irene Castle, a New York dance team. Handy sold the rights to the song for $100.
One example of a widely used chord progression in Western traditional music and blues is the 12 bar blues progression. Although any chord may in principle be followed by any other chord, certain patterns of chords are more common in Western music, and some patterns have been accepted as establishing the key ( tonic note ) in common-practice ...
The form is unusual in that the verses are the now-familiar standard twelve-bar blues in common time with three lines of lyrics, the first two lines repeated, but it also has a 16-bar bridge written in the habanera rhythm, which Jelly Roll Morton called the "Spanish tinge" and characterized by Handy as tango.
"I Can't Quit You Baby" is blues song written by Willie Dixon and first recorded by Chicago blues artist Otis Rush in 1956. [1] It is a slow twelve-bar blues ensemble piece, with lyrics about the consequences of an adulterous relationship which is difficult to end. "I Can't Quit You Baby" was Rush's first recording and Cobra Records's debut single.