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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 form and chord progression are based on the standard twelve-bar blues in the key of B minor, with the vocal melody and nearly all of Gilmour's soloing based on the pentatonic and blues scales. [12] Two twelve-bar verses are followed by a twenty-bar instrumental section that features a blues-style tenor saxophone solo played by Dick Parry ...
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.
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.
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".
Alto sax plays main melody (A), based on E ♭-minor hexatonic blues scale, [c] in two similar 4-bar phrases: BB: Alto sax plays bridge melody (B), based on G ♭-major scale, in two similar 4-bar phrases AA: Reprise: Solo 1: Alto sax plays improvised modal [17] solo, based on E ♭-minor hexatonic blues scale, [d] over vamp [e] Solo 2: Drum ...
The melody derived from band members' riffs—Basie rarely wrote down musical ideas, so Eddie Durham and Buster Smith helped him crystallize his ideas. The original 1937 recording of the tune by Basie and his band is noted for the saxophone work of Herschel Evans and Lester Young, trumpet by Buck Clayton, Walter Page on bass, and Basie himself on piano. [1]
Bechet recorded "Wild Cat Blues" and "Kansas City Man Blues." The former is in a ragtime style with four 16-bar themes, and the latter is a 12-bar blues. [3] In 1924, Bechet worked with Duke Ellington for three months and made a significant impact on Ellington's early jazz style. [2] Duke Ellington called him "the epitome of jazz."