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There are also minor twelve-bar blues, such as John Coltrane's "Equinox" and "Mr. P.C.". [10] The chord on the fifth scale degree may be major (V 7) or minor (v 7). [10] Major and minor can also be mixed together, a signature characteristic of the music of Charles Brown. [11]
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.
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 ...
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 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.
Melodically, blues music is marked by the use of the lowered third and dominant seventh (so-called blue notes) of the associated major scale. [35] The standard 12-bar blues form is noted in uncorroborated oral histories as appearing communities throughout the region along the lower Mississippi River during the decade of the 1900s (and performed ...
There are few keys in which one may play the progression with open chords on the guitar, so it is often portrayed with barre chords ("Lay Lady Lay"). The use of the flattened seventh may lend this progression a bluesy feel or sound, and the whole tone descent may be reminiscent of the ninth and tenth chords of the twelve bar blues (V–IV).
A C major chord, the major triad built on the note C (C–E–G), is referred to as the one chord of that key and notated in Roman numerals as I. The same C major chord can be found in other scales: it forms chord III in the key of A minor (A→B→C) and chord IV in the key of G major (G→A→B→C). This numbering indicates the chords's ...
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