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

["Haka Harri" <harri.haka@xxxxxxxx>]

Vince and all on the list,

It's marvelous to have the likes of Vince on this list. It is nice to read constructive feedback on the theory of music and not being criticized for "ignorance" of theory. Still believe in the natural approach to playing harp which means an inborn talent that can not be replaced by any training. Having said that, I agree with all of you saying that learning the theory behind it doesn't hurt.

Harri


Vince wrote:
> 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?
> 
> 
>