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This is a plagal cadence featuring a dominant seventh tonic (I or V/IV) chord. However, Baker cites a turnaround containing "How Dry I Am" as the "absolutely most commonly used blues turnaround". [5] Fischer describes the turnaround as the last two measures of the blues form, or I 7 and V 7, with variations including I 7 –IV 7 –I 7 –V 7. [6]
The sixteen-bar blues can be a ... One adaptation extends the first section of tonic chords (bars 1–4) by doubling or repeating to become the first half (bars 1–8 ...
Dominant 7th chords are generally used throughout a blues progression. The addition of dominant 7th chords as well as the inclusion of other types of 7th chords (i.e. minor and diminished 7ths) are often used just before a change, and more changes can be added. A more complicated example might look like this, where "7" indicates a seventh chord:
It is a twelve-bar blues in 6 8; the chord sequence is that of a basic blues and made up entirely of seventh chords, with a ♭ VI in the turnaround instead of just the usual V chord. In the composition's original key of G this chord is an E ♭ 7. "All Blues" is an example of modal blues in G Mixolydian. [2] [clarification needed]
The move to the IV chord usually happens at bar 3 (as opposed to 5 in twelve bar); however, "the I chord moving to the V chord right away, in the second measure, is a characteristic of the eight-bar blues." [1] In the following examples each box represents a 'bar' of music (the specific time signature is not relevant).
The Piedmont blues was named after the Piedmont plateau region, on the East Coast of the United States from about Richmond, Virginia to Atlanta, Georgia.Piedmont blues musicians come from this area, as well as Maryland, Delaware, West Virginia, Pennsylvania and northern Florida, western South Carolina, central North Carolina, eastern Tennessee, Kentucky, and Alabama – later the Northeastern ...
Sometimes, especially in blues music, musicians will take chords which are normally minor chords and make them major. The most popular example is the I–VI–ii–V–I progression; normally, the vi chord would be a minor chord (or m 7, m 6, m ♭ 6 etc.) but here the major third makes it a secondary dominant leading to ii, i.e. V/ii.
Some of his later blues are in an 8-bar pattern, like pop or gospel, rather than in his earlier 12-bar manner. [6] Sykes moved easily from country boogie-woogie to his urban blues piano style. A blues virtuoso, he played blues in an older way, adding flourishes, notes, and chord changes where he felt necessary, even if it meant adding or ...
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