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Like Skip James and Jack Owens and other blues musicians from Bentonia, Mississippi, Holmes learned to play the blues from Henry Stuckey, the originator of the Bentonia blues. [3] Holmes' music is based in the Bentonia tuning utilizing open E-minor, open D-minor and a down tuned variant, and is noted for its haunting, ethereal, rhythmic and ...
Many blues songs were developed in American folk music traditions and individual songwriters are sometimes unidentified. [1] Blues historian Gerard Herzhaft noted: In the case of very old blues songs, there is the constant recourse to oral tradition that conveyed the tune and even the song itself while at the same time evolving for several decades.
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 .
Blues on Bach is an album by American jazz group the Modern Jazz Quartet recorded in 1973 and released on the Atlantic label. [4] The album includes five arrangements by John Lewis of pieces by Johann Sebastian Bach, interspersed with four original blues pieces "on" [the name] "Bach"—in keys (and with titles) that spell out in order the name B-A-C-H.
James often played guitar with an open D-minor tuning (D–A–D–F–A–D), resulting in the "deep" sound of the 1931 recordings. He reportedly learned this tuning from his musical mentor, the unrecorded bluesman Henry Stuckey, [ 24 ] who in turn was said to have acquired it from Bahamian soldiers during the First World War , [ 25 ] despite ...
Though the blues scale has "an inherent minor tonality, it is commonly 'forced' over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities". [4] A similar conflict occurs between the notes of the minor scale and the minor blues scale, as heard in songs such as "Why Don't You Do Right?", "Happy" and "Sweet About Me".
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Eight-bar blues progressions have more variations than the more rigidly defined twelve bar format. 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]
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