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Examples include "Trigger Happy" by "Weird Al" Yankovic (the verse has this sixteen bar structure, with additional ornamentation and "turnaround" applied to tonic chord in bars 13–16). Instead of extending the first or third section, one might repeat the second section.
Eight-bar blues: I–V–IV–IV–I–V–I–V: 3: Major Folia: i–V–i– ♭ VII– ♭ III– ♭ VII–i–V–i–V–i– ♭ VII– ♭ III– ♭ VII–i–V–i: 4: Minor Irregular resolution (Type I: Two common tones, two note moves by half step motion) V7–III7: 2: Major Montgomery–Ward bridge: I–IV–ii–V: 4: Major ...
For example, Robert Johnson and Tampa Red, who were the first to record the most blues standards on the list at four each, performed them as solo or duo acoustic performances. B.B. King and Muddy Waters, with the most standards on the charts at five each, [8] used electric blues-ensemble arrangements.
Other chord progressions, such as 8-bar forms, are still considered blues; examples include "How Long Blues", "Trouble in Mind", and Big Bill Broonzy's "Key to the Highway". There are also 16-bar blues, such as Ray Charles's instrumental "Sweet 16 Bars" and Herbie Hancock's "Watermelon Man".
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.
Unlike the fast-paced rock and roll style of "Folsom Prison Blues," "Crescent City Blues" is a slow, 16-bar blues torch song. The instrumentation is entirely orchestral, [10] while the Cash song is an uptempo number with a heavy guitar riff from Luther Perkins.
#16. Woodrow Wilson was mentally and emotionally incapacitated by a massive stroke in October 1919, and his wife and doctors essentially ran the country until Harding took office in 1921. Some ...
For example, the twelve bar blues is a specific verse form, while common meter is found in many hymns and ballads and, again, the Elizabethan galliard, like many dances, requires a certain rhythm, pace and length of melody to fit its repeating pattern of steps. Simpler styles of music may be more or less wholly defined at this level of form ...