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  2. Twelve-bar blues - Wikipedia

    en.wikipedia.org/wiki/Twelve-bar_blues

    The twelve-bar blues (or blues changes) is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key.

  3. Dublin Blues - Wikipedia

    en.wikipedia.org/wiki/Dublin_Blues

    Dublin Blues is an album by the American singer-songwriter Guy Clark, released in 1995. [ 2 ] [ 3 ] Clark promoted the album by touring with son, Travis, as his bass player. [ 4 ] It has recently been remastered (2023) and an extra track has been discovered.

  4. All Blues - Wikipedia

    en.wikipedia.org/wiki/All_Blues

    "All Blues" is a jazz composition by Miles Davis first appearing on the influential 1959 album Kind of Blue. 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.

  5. In Search of the Lost Chord - Wikipedia

    en.wikipedia.org/wiki/In_Search_of_the_Lost_Chord

    Although the other Moody Blues albums released in Deluxe Editions in 2006 featured their original quadrophonic mix (encoded as 5.1 surround sound), In Search of the Lost Chord had never been released in this format, and a new mix was not released until 2018 when a 5.1 mix was released as part of the 50th anniversary box set. [39]

  6. Three-chord song - Wikipedia

    en.wikipedia.org/wiki/Three-chord_song

    A common type of three-chord song is the simple twelve-bar blues used in blues and rock and roll. Typically, the three chords used are the chords on the tonic, subdominant, and dominant (scale degrees I, IV and V): in the key of C, these would be the C, F and G chords. Sometimes the V 7 chord is used instead of V, for greater tension.

  7. Sixteen-bar blues - Wikipedia

    en.wikipedia.org/wiki/Sixteen-bar_blues

    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]

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  9. V–IV–I turnaround - Wikipedia

    en.wikipedia.org/wiki/V–IV–I_turnaround

    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]