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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 .
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.
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 ...
Instead of extending the first section, one adaptation extends the third section. Here, the twelve-bar progression's last dominant, subdominant, and tonic chords (bars 9, 10, and 11–12, respectively) are doubled in length, becoming the sixteen-bar progression's 9th–10th, 11th–12th, and 13th–16th bars, [citation needed]
[10] Stevie Ray Vaughan, a devotee of Hendrix, used the chord extensively. For example, the main riff of his song "Scuttle Buttin'" uses both the E 7 ♯ 9 and the B 7 ♯ 9 as part of a 12-bar blues progression. [28] Johnny Winter referred to it as the "Hold It" chord after the Bill Doggett song. [29] This was also a name used by John Scofield ...
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The Blues for Alice changes, Bird changes, Bird Blues, or New York Blues changes, is a chord progression, often named after Charlie Parker ("Bird"), which is a variation of the twelve-bar blues. The progression uses a series of sequential ii–V or secondary ii–V progressions, and has been used in pieces such as Parker's " Blues for Alice ".