Re: VS: [Harp-L] Re: not 12 bar / Roadhouse Blues



I thought of something else that maybe isn't so razzle dazzle that might be helpful.

Most blues tunes repeat a form, i.e. a specific pattern of when the chords change (like most jazz tunes, with for the most part different forms between them). For blues that's predominantly what we know as the "12 bar", referring to how many measures it takes to complete the form (bar = measure). Within that "12 bar" there are loads of variations but for the most part they are fundamentally more similar than different. That branches out to 8-bar, 24 bar, other varieties, but the bulk are 12-bar forms. Then there are some with a "bridge" in addition to a 12-bar (I Want To Be Loved by Muddy). And some with maybe an "interlude" between verses, solos, etc. (300 Lbs., although only the solos are strict 12-bar forms in that one). Anyway, the deal is that most blues that we end up playing and listening to are "12-bars" and follow a familiar form that we recognize.

In pop tunes, arguably particularly in the blues-influenced era of the 60's and 70's (ah, wasn't that a nice time for pop music!) familiar forms are frequently suggested or borrowed from, but not necessarily adhered to in the classical sense. Roadhouse blues is an example. It's structure is such that the 24 bar form is really only stated fully once - everything else is sort of getting there, getting out of it and finishing. Even though its free ranging according to pop sensibilities, it still follows a sort of "get goin', build it up, do it, express yourself, then suggest "it" and get out without full repitition of form. We're used to form repeating in blues - that's part of the style - but in pop tunes it ain't necessarily like that. Although nowadays the "sales through attrition" method seems to favor a numbing repetition of material much less interesting than our beloved blues. But then I'm a curmudgeon.

Oh cripes...I thought I'd bring something up easy and just blabbered tons of words again. Did I mention that I drink a LOT of coffee?


On Mar 21, 2007, at 1:23 PM, Haka Harri wrote:


Vince,

Your knowledge of musical theory is convincing. I understood 30 % of what you said but I got a clue of what that means as far as Roadhouse Blues goes.

Harri

-----Alkuperäinen viesti-----
Lähettäjä: Vince Meghrouni [mailto:Foomcorp@xxxxxxxxxxxxx]
Lähetetty: 21. maaliskuuta 2007 21:54
Vastaanottaja: Haka Harri
Kopio: harp-l@xxxxxxxxxx
Aihe: Re: [Harp-L] Re: not 12 bar / Roadhouse Blues


For all but verses 2 and 3 it's a one chord (E7) vamp, including the first verse, the guitar solo and Mr. Mojo Risin's poetic g extemporizing.

Verse 2 is a 24 bar blues with a somewhat eccentric form (vs. a
simple doubling the measures in a conventional blues).

12 bars E7  (tonic)
6   bars   A7  (sub-dominant, i.e., the IV chord)
1   bar   B7  (dominant, i.e., the V chord)
1/2   bar   C& (tritone substitution for the ii chord, made into a
dominant chord as is frequently the case in minor blues)
1/2 bar  B7 (dominant, i.e., the V chord)
4   bars E7 (tonic)

Verse 3 is as as verse two except it ends on beat one just after the
last B7 in the form.


On Mar 21, 2007, at 12:46 PM, Haka Harri wrote:


John Frazer wrote:
not 12 bar. More like 28 bar

Unfortunately I don't have the recording any more but if memory serves me right this song has the traditional AAB
progression of 12
bar blues eg.:

"I woke up this morning
And I got myself a beer.

I woke up this morning
And I got myself a beer.

The future's uncertain
And the end is always near."

I'm no expert on music theory and will be the first to admit that
it isn't 12 bar if that is the case.

Harri




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