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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]
Songs that use the same harmony (chords) for the verse and chorus, such as the twelve bar blues, though the melody is different and the lyrics feature different verses and a repeated chorus, are in simple verse–chorus form. Examples include: "Shake, Rattle, and Roll" by Big Joe Turner (1954) [8]
Song structure is the arrangement of a song, [1] and is a part of the songwriting process. It is typically sectional, which uses repeating forms in songs.Common piece-level musical forms for vocal music include bar form, 32-bar form, verse–chorus form, ternary form, strophic form, and the 12-bar blues.
Stylistically, Rodgers drew on the rich musical tradition of blues and folk music. He often used the classic 12-bar blues scheme ("12 bar blues"), with the first line of each verse being repeated twice. He also used common phrases, so-called floating lyrics or maverick stanzas (sometimes also maverick phrases).
"What Good Can Drinkin' Do" is a blues song by Janis Joplin, considered the first song she ever recorded. [1] The song has six verses, in a 12-bar blues pattern. Lyrics in the first and last verse are almost identical: "What good can drinkin' do ?" is sung twice, then answered with "Lord, I drink all night but the next day I still feel blue."
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 ...
"Stop Messin' Round" is credited to Peter Green and C.G. Adams, Fleetwood Mac's manager, who also used the name Clifford Davis. [1] Only two of the song's 12-bar verses include vocals: the first uses the common call and response or AAB pattern, while the second includes four bars of stop-time, before concluding with the same refrain as the first: [2]