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The basic progression for a 12-bar blues may be represented in several ways. It is shown in its simplest form, without the common "quick change", turnarounds, or seventh chords. For variations, see the following section. Chord notation in the key of C: [4]
V–IV–I progression in C Play ⓘ In music, the V–IV–I turnaround, or blues turnaround, [1] is one of several cadential patterns traditionally found in the twelve-bar blues, and commonly found in rock and roll. [2] The cadence moves from the tonic to dominant, to subdominant, and back to the tonic.
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 ...
I–V–vi–IV chord progression in C: 4: Major I–IV ... Eight-bar blues: I–V–IV–IV–I–V–I–V: 3: Major Folia: i–V–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]
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.
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. [30]
"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]