The READIN Family Album
Happy together (Sept. 8, 2001)

READIN

Jeremy's journal

If he hadn't been so tired, ... he might have seen at the start that he was setting out on a journey that would change his life forever and chosen to turn back.

Orhan Pamuk


(This is a page from my archives)
Front page
More recent posts
Older posts
More posts about:
The Blues
Music
Mountain Blues & Ballads

Archives index
Subscribe to RSS

This page renders best in Firefox (or Safari, or Chrome)

🦋 12 bars

Here is the structure of blues as I hear it:

| 2 bars melody, I I or I IV | | X bars fill |
| 2 bars melody, IV IV | | X bars fill |
| 2 bars melody, V I | | X - 1 bars fill, 1 bar turnaround |
I usually expect X = 2, a 12-bar pattern. (The fill is usually all I chord, turnaround is V.) I can picture a slow 15-bar blues with X = 3 -- I may have played this on occasion, not sure. I was really surprised when listening to Mountain Blues & Ballads, to hear Gene Autry's "Black Bottom Blues" -- something just seemed wrong about it and I couldn't figure out what. Come to realize, it's a 9-bar blues -- X is 1! I didn't even know that was possible! A-and later in the same collection, a fiddle blues called "Tipple Blues" (not sure just now, who the artist is -- this is essentially the same melody as "Deep Elem Blues") which unless I'm mistaken, is 10 bars -- X is 2 on the first line, 1 subsequently. So cool, the form is a lot more versatile than I had realized.

(And funny, the thing is I'm pretty sure if I covered "Black Bottom Blues", I would play 2 bars of fill -- that's etched deeply on my brane as the correct amount.)

posted morning of Thursday, January 29th, 2009
➳ More posts about The Blues
➳ More posts about Music
➳ More posts about Mountain Blues & Ballads

The structure is you describe it is pretty accurate (some other variations: flat III as the second bar of the second phrase; i.e., C if I is A). But it's important to recognize that this structure wasn't quite so set-in-stone from the start. Early blues is much freer in its phrasing (as is music influenced by it, like early Dylan: some of his phrases are half-bars long, or even weirder...like try to parse the phrasing and time signatures of "It's Alright Ma (I'm Only Bleeding)") - the most obvious example is a lot of Robert Johnson's stuff.

posted evening of January 29th, 2009 by 2fs

Yeah, I've noticed bits in Dylan and in older music where there is an extra half a bar hanging around and sounding just right -- I try to convince my jamming friends that we should sometimes hold a note an extra beat or two before getting back into the 4/4 groove; but have not had much luck with getting them to see things my way so far.

posted evening of January 29th, 2009 by Jeremy

Respond:

Name:
E-mail:
(will not be displayed)
Link:
Remember info

Drop me a line! or, sign my Guestbook.
    •
Check out Ellen's writing at Patch.com.

What's of interest:

(Other links of interest at my Google+ page. It's recommended!)

Where to go from here...

Friends and Family
Programming
Texts
Music
Woodworking
Comix
Blogs
South Orange
readinsinglepost