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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 ]
"In a blues in A, the turnaround will consist of the chords E 7, D 7, A 7, E 7 [V–IV–I–V]." [ 3 ] [ 4 ] V may be used in the last measure rather than I since, "nearly all blues tunes have more than one chorus (occurrence of the 12-bar progression ), the turnaround (last four bars) usually ends on V, which makes us feel like we need to ...
"Freddie Freeloader" is a composition by Miles Davis and is the second track on his 1959 album Kind of Blue. The piece takes the form of a twelve-bar blues in B ♭, but the chord over the final two bars of each chorus is an A ♭ 7, not the traditional B ♭ 7 followed by either F7 for a turnaround or some variation of B ♭ 7 for an ending.
Handy later rewrote the tune and changed its name from "Mr. Crump" to "Memphis Blues." The 1912 publication of the sheet music of "The Memphis Blues" introduced his style of 12-bar blues; it was credited as the inspiration for the foxtrot by Vernon and Irene Castle, a New York dance team. Handy sold the rights to the song for $100.
"Red House" is a song written by Jimi Hendrix and one of the first songs recorded in 1966 by the Jimi Hendrix Experience. It has the musical form of a conventional twelve-bar blues and features Hendrix's guitar playing.
Tapping or slapping the body of his guitar added rhythmic accompaniment. Much of Hopkins's music follows the standard 12-bar blues template, but his phrasing was free and loose. Many of his songs were in the talking blues style, but he was a powerful and confident singer.
"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]
According to music journalist Cub Koda, their rendition is "a note-for-note copy of Otis Rush's" 1966 Vanguard version, [12] although with different instrumentation and dynamics. [13] It also incorporates a break during the guitar solo where Jimmy Page plays a four-bar unaccompanied set-up before relaunching into the solo. Although biographer ...
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