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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 song was recorded on January 11, 1963, by Williamson on vocal and harmonica, backed by Lafayette Leake or Billy Emerson on organ, Matt Murphy on guitar, Milton Rector on bass, and Al Duncan on drums. [3] "Bye Bye Bird" is included on several Sonny Boy Williamson compilation albums, such as More Real Folk Blues (1967) and His Best (1997). [4]
The basic 12-bar lyric framework of many blues compositions is reflected by a standard harmonic progression of 12 bars in a 4/4 time signature. The blues chords associated to a twelve-bar blues are typically a set of three different chords played over a 12-bar scheme.
"Hoochie Coochie Man" follows a sixteen-bar blues progression, which is an expansion of the well-known twelve-bar blues pattern. [35] The first four bars are doubled in length so the harmony remains on the tonic for eight bars or one-half of the sixteen bar progression. [ 38 ]
"Juke" is a harmonica instrumental recorded by the Chicago bluesman Little Walter Jacobs in 1952. Although Little Walter had been recording sporadically for small Chicago labels over the previous five years, and had appeared on Muddy Waters' records for Chess Records since 1950, "Juke" was Little Walter's first hit, and it was the most important of his career.
Blues harp or cross harp denotes a playing technique that originated in the blues music culture, and refers to the diatonic harmonica itself, since this is the kind that is most commonly used to play blues. The traditional harmonica for blues playing was the Hohner Marine Band, which was affordable and easily obtainable in various keys even in ...
"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]
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]