Twelve-bar blues

{{short description|Prominent chord progression in popular music}} {{for multi|the Scott Weiland album|12 Bar Blues (album){{!}}''12 Bar Blues'' (album)|the Patrick Neate novel|Twelve Bar Blues (novel){{!}}''Twelve Bar Blues'' (novel)}} {{Listen image | main_image = Twelve bar boogie-woogie blues in C.png | main_image_size = 350px | main_image_caption = Typical boogie woogie bassline on twelve-bar blues progression in C, chord [[root (chord)|roots]] in red | type = music | filename = Twelve_bar_boogie-woogie_blues_in_C.mid | title = Twelve bar boogie-woogie blues in C }} The '''twelve-bar blues''' (or '''blues changes''') is one of the most prominent [[chord progression]]s in [[popular music]]. The [[blues]] progression has a distinctive form in [[lyrics]], [[phrase (music)|phrase]], [[chord (music)|chord]] structure, and [[duration (music)|duration]]. In its basic form, it is predominantly based on the [[Tonic (music)|I]], [[Subdominant|IV]], and [[Dominant (music)|V]] chords of a key.

== Background == The blues originated from a combination of work songs, spirituals, and early southern country music.{{sfn|Gridley|2000|p=}} The music was passed down through oral tradition. It was first written down by [[W. C. Handy]], an [[African Americans|African American]] composer and band leader. Its popularity led to the creation of "[[race record]]s" and the popularity of blues singers like [[Bessie Smith]] and [[Ma Rainey]].<ref>{{cite web|url=https://www.pbs.org/theblues/classroom/essaysblues.html|title=What Is the Blues?|year=2003|website=[[Pbs.org]]|access-date=October 12, 2021}}</ref> The style of music heard on race records was later called "[[rhythm and blues]]" (R & B). As the music became more popular, more people wanted to perform it. General patterns that existed in the blues were formalized, one of these being the 12-bar blues.{{sfn|Gridley|2000|p=}}

==Basic progression== 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", [[Turnaround (music)|turnarounds]], or seventh chords. For variations, see the following section. *Chord notation in the [[C major|key of C]]:{{sfn|Benward|Saker|2003|p=186}} :{|class="wikitable" style="text-align:center; width:130px;" |width=25%|C |width=25%|C |width=25%|C |width=25%|C |- |width=25%|F |width=25%|F |width=25%|C |width=25%|C |- |width=25%|G |width=25%|F |width=25%|C |width=25%|G |- |}

*Functional notation{{snd}}chords are represented by '''T''' to indicate the [[Tonic (music)|tonic]], '''S''' for the [[subdominant]], and '''D''' for the [[Dominant (music)|dominant]]:{{sfn|Kernfeld|2007|p=}} :{|class="wikitable" style="text-align:center; width:130px;" |width=25%|T |width=25%|T |width=25%|T |width=25%|T |- |width=25%|S |width=25%|S |width=25%|T |width=25%|T |- |width=25%|D |width=25%|S |width=25%|T |width=25%|D |- |}

*[[Roman numeral analysis|Roman numeral notation]]{{snd}}'''I''' represents the tonic, '''IV''' the sub-dominant, and '''V''' the dominant:{{sfn|Kernfeld|2007|p=}} :{|class="wikitable" style="text-align:center; width:130px;" |width=25%|I |width=25%|I |width=25%|I |width=25%|I |- |width=25%|IV |width=25%|IV |width=25%|I |width=25%|I |- |width=25%|V |width=25%|IV |width=25%|I |width=25%|V |- |}

==Variations== === Shuffle blues === In the original form, the dominant chord was repeated on the twelfth bar; later on, the V–IV–I–I "shuffle blues" pattern became standard in the third set of four bars:{{sfn|Gerow|Tanner|1984|p=37|ps=: cited in Baker 2004: "This alteration [V–IV–I rather than V–V–I] is now considered standard."}} :{|class="wikitable" style="text-align:center; width:130px;" |width=25%|I |width=25%|I |width=25%|I |width=25%|I |- |width=25%|IV |width=25%|IV |width=25%|I |width=25%|I |- |width=25%|V |width=25%|IV |width=25%|I |width=25%|'''I''' |- |}

{{Listen|filename=Twelve_bar_boogie-woogie_blues_in_C.mid|title=Twelve bar boogie-woogie blues in C|plain=yes|style=margin-left:1em}}

=== Quick to four ===

{{anchor|quick-change}}

The common quick-change, quick to four, or quick four variation uses the subdominant or IV chord in the second bar.{{sfn|McCumber|2006|p=25}} :{|class="wikitable" style="text-align:center; width:130px;" |width=25%|I |width=25%|'''IV''' |width=25%|I |width=25%|I |- |width=25%|IV |width=25%|IV |width=25%|I |width=25%|I |- |width=25%|V |width=25%|IV |width=25%|I |width=25%|I |- |}

=== Seventh chords === Seventh chords are a type of chord that includes the 7th scale degree (that is, the 7th note of the scale). There are different types of 7th chords such as major 7ths, dominant 7ths, minor 7ths, half diminished 7ths, and fully diminished 7ths.<ref>{{cite journal|url=https://milnepublishing.geneseo.edu/fundamentals-function-form/chapter/18-seventh-chords/|last=Mount|first=Andre|title=Seventh Chords|website=Milnepublishingonline|access-date=November 29, 2021}}</ref> These chords are similar with slight changes, but are all centered around the same key center. Dominant 7th chords are generally used throughout a blues progression. The addition of dominant 7th chords as well as the inclusion of other types of 7th chords (i.e. minor and diminished 7ths) are often used just before a change, and more changes can be added. A more complicated example might look like this, where "7" indicates a seventh chord:

:{|class="wikitable" style="text-align:center; width:130px;" |width=25%|I |width=25%|IV |width=25%|I |width=25%|I⁷ |- |width=25%|IV |width=25%|IV⁷ |width=25%|I |width=25%|I⁷ |- |width=25%|V |width=25%|IV |width=25%|I |width=25%|V⁷ |- |}

=== Bebop blues === This progression is similar to [[Charlie Parker]]'s "[[Now's the Time (composition)|Now's the Time]]", "[[Billie's Bounce]]", [[Sonny Rollins]]'s "[[Tenor Madness]]", and many other [[Bebop|bop]] tunes.{{sfn|Spitzer|2001|p=62}} Peter Spitzer describes it as "a bop [[Solo (music)|soloist's]] cliche to [[arpeggio|arpeggiate]] this chord [A^{7{{music|b}}9} ([[secondary dominant|V/ii]] = VI^{7{{music|b}}9})] from the [[third (chord)|3]] up to the {{music|b}}[[Ninth (interval)|9]]."{{sfn|Spitzer|2001|p=62}} :{|class="wikitable" style="text-align:center; width:250px;" |width=25%|I⁷ |width=25%|IV⁷ |width=25%|I⁷ |width=25%|V⁷ I⁷ |- |width=25%|IV⁷ |width=25%|{{music|#}}IV{{music|dim}}⁷ |width=25%|I⁷ |width=25%|V/ii^{{music|b}}9 |- |width=25%|ii⁷ |width=25%|V⁷ |width=25%|I⁷ V/ii^{{music|b}}9 |width=25%|ii⁷ V⁷ |- |} {{Listen|filename=Bebop_blues_progression.mid|title=Bebop blues progression|plain=yes|style=margin-left:1em}}

=== Minor blues === There are also minor twelve-bar blues, such as [[John Coltrane]]'s "[[Equinox (standard)|Equinox]]" and "[[Mr. P.C.]]".{{sfn|Spitzer|2001|p=63}} The chord on the fifth [[degree (music)|scale degree]] may be major (V⁷) or minor (v⁷).{{sfn|Spitzer|2001|p=63}} Major and minor can also be mixed together, a signature characteristic of the music of [[Charles Brown (musician)|Charles Brown]].{{sfn|di Perna|1991|pp=180, 80|ps=: "Brown alternates between an Fmin7 and a B7. Minor to major, just like the man says."}} :{|class="wikitable" style="text-align:center; width:180px;" |width=25%|i⁷ |width=25%|i⁷ |width=25%|i⁷ |width=25%|i⁷ |- |width=25%|iv⁷ |width=25%|iv⁷ |width=25%|i⁷ |width=25%|i⁷ |- |width=25%|{{music|b}}VI⁷ |width=25%|V⁷ |width=25%|i⁷ |width=25%|i⁷ |- |} {{Listen|filename=Minor_blues_progression.mid|title=Minor blues progression|plain=yes|style=margin-left:1em}}

===Other variations=== "[[W. C. Handy]] codified this blues form to help musicians communicate chord changes."{{sfn|Jackson|2002|p=18}} Many variations are possible. The length of sections may be varied to create [[eight-bar blues]] or [[sixteen-bar blues]].

[[Image:Standard 12-bar blues progression variations.png|center|Standard twelve-bar blues progressions variations, in key of C.{{sfn|Benward|Saker|2003|p=}} {{audio|Standard 12-bar blues progression variations A.mid|Play A}}, B, {{audio|Standard 12-bar blues progression variations C.mid|C}}, {{audio|Standard 12-bar blues progression variations D.mid|D}}, and {{audio|Standard 12-bar blues progression variations E.mid|E}} as boogie woogie basslines.|alt=|frame]]

== Melodic line == As the chords of a 12-bar blues follow a form, so does the melodic line. The melodic line might just be the melody of the piece or it might also include lyrics. The melody and lyrics frequently follow an AA'B form, meaning one phrase is played then repeated (perhaps with a slight alteration), then something new is played.{{sfn|Spitzer|2001|p=}} This pattern is frequently used in the blues and in musical genres that have their roots in the blues.<ref>{{cite web|url=https://hellomusictheory.com/learn/12-bar-blues-form/|last=Farrant|first=Dan|title=12-Bar Blues Form: A Complete Guide|website=Hellomusictheory.com|date=9 September 2020 |access-date=October 12, 2021}}</ref>

==See also== * [[Eight-bar blues]] * [[Sixteen-bar blues]] * [[Bird changes]]

==References== {{Reflist}}

==Sources== *{{Cite book | last1 = Benward | first1 = Bruce | author-link1 = | last2 = Saker | first2 = Marilyn Nadine | author-link2 = | year = 2003 | title = Music: In Theory and Practice, Vol. I | edition = 7th | publisher = [[McGraw-Hill]] | isbn = 978-0-07-294262-0}} *{{Cite book | last = Covach | first = John | author-link = | editor-last = Stein | editor-first = Deborah | title = Engaging Music: Essays in Music Analysis | chapter = Form in Rock Music: A Primer | year = 2005 | publisher = [[Oxford University Press]] | isbn = 0-19-517010-5}} *{{Cite book | last = di Perna | first = Alan | title = Musician, issues 147–152 | chapter = Jazzin' the Blues with Charles Brown | year = 1991 | publisher = Amordian Press | isbn = }} *{{Cite book | last1 = Gerow | first1 = Maurice | last2 = Tanner | first2 = Paul | author-link2 = Paul Tanner | year = 1984 | title = A Study of Jazz | publisher = William C. Brown | isbn = 978-0-07-294262-0 | quote = Cited in Baker, Robert M. (2005)}} *{{Cite book | last = Gridley | first = Mark C. | title = Jazz Styles: Jazz Classics Compact Disc | year = 2000 | publisher = Sony Music | isbn = 0-13-012693-4}} *{{Cite book | last = Jackson | first = Fruteland | author-link = Fruteland Jackson | title = Beginning Delta Blues Guitar | year = 2002 | publisher = [[Alfred Publishing]] | isbn = 978-0-7390-3006-6}} *{{Cite book | editor-last = Kernfeld | editor-first = Barry | author-link = Barry Kernfeld | title = The New Grove Dictionary of Jazz | section = Blues progression | year = 2007 | volume = 2 | publisher = [[Oxford University Press]] | isbn = }} *{{cite book |last=McCumber |first=Dennis |date=2006 |title=The Total Blues Guitarist |publisher=Alfred Publishing |isbn=9780739038499 |url={{GBurl|qR51tzDMtPQC|page=25}} }} *{{Cite book | last = Middleton | first = Richard | author-link = Richard Middleton (musicologist) | title = Studying Popular Music | year = 1990 | publisher = [[Open University Press]] | isbn = 0-335-15275-9}} *{{Cite book | last = Spitzer | first = Peter | title = Jazz Theory Handbook | year = 2001 | publisher = [[Mel Bay]] | isbn = 978-0-7866-5328-7}} *{{Cite book | last = Thomas | first = John | title = Voice Leading for Guitar: Moving Through the Changes | year = 2002 | publisher = [[Berklee Press]] | isbn = 0-634-01655-5}} *{{Cite book | last = van der Merwe | first = Peter | author-link = Peter van der Merwe (musicologist) | title = Origins of the Popular Style | year = 1989 | publisher = [[Clarendon Press]] | isbn = 0-19-316121-4 | quote = Cited in Middleton (1990)}}

{{Blues}} {{Chord progressions}} {{Jazz theory}}

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