Comparatively, different flavors of popular music have been everywhere over the board stylistically. There are big dissimilarities between Sinatra and Hank Williams! Although in other ways–structurally speaking–it’s surprising how closely different pop styles follow similar structural patterns. In that respect, rockabilly music stocks and shares much in common with many different genres of popular music. get Free musically followers today
Having cultivated out of a combo of country, blues, gospel, and rhythm and blues music of the first half of last century, it should not be too surprising that rockabilly music shares much in common with each of the people genres. Specifically, rockabilly songs typically follow the familiar 12-bar blues design that forms the basis of millions of tunes that contain been written and recorded in not the particular blues style, but also country, rock and roll, folk music, and many others.
So, what exactly is the “12-bar blues” pattern? For performers who play in different of the styles I’ve mentioned here, the pattern is second nature. Musicians who no longer pay much attention to music theory may well not even realize they’re playing the pattern–it just appears in so many songs that it’s been ingrained into them. But many not musicians have maybe read the term and thought about what it’s all about. And for rockabilly enthusiasts, why should you care and attention?
Well, you certainly are not required to be familiar with 12-bar doldrums pattern to relish rockabilly music, but if you’re interested to know how functions, here’s a down-and-dirty basic summary!
The pattern is simply a structure that the song writer uses to create a music that produces sense to the western listener’s ear. Will be certainly no law that says a song writer must stick to the composition, but one can’t go too far wrong with it. The structure brings instant familiarity to the listener and makes them feel comfortable with in which the song’s going. The writer applies this structure typically to the verses of the song and–not remarkably given the structure’s name–it is 12 bars, or musical measures, long. The conclusion of those 12 pubs leads comfortably into the next area of the tune whether it be another 12-bar verse pattern or a variation used as a chorus, solo, or bridge section.
Let’s take those classic Carl Kendrick song “Blue Suede Shoes” for our example. The song sticks to the 12-bar blues structure and may be the very best rockabilly song ever written. Think of the first verse of the track where Perkins helps all of us count out the steps by giving us with the famous “Well it can one for the money, two for the show, three to get ready, now go cat go. ”
The “one, very well “two, ” and “three” of the lyrics fall season on the first whip of measures one, two, and three of the verse. Add in the “go cat go” and you’ve already made it through four of the 12 bars in the pattern. Perkins uses essentially the same musical blend for those first four measures. That chord may specifically be an At the or an A or any type of other chord depending after the key in which the song is played, but generically it is known as the “one” blend. The choice of that chord relates to the 12-bar blues for the reason that a very common chording design (one, four, one, five, one) typically works jointly with the 12-bar routine. That’s another discussion another day and starts delving deeper into music theory than most fans would like to get!
After those first four bars, the song changes to what’s known as the “four” chord and the song’s melody changes accordingly. The song stays on on the four blend for two bars. In our example, Perkins performs, “Now don’t you step on my blue suede” and we’re six pubs in–half way through the pattern. The term “shoes moves off the seventh tavern of the pattern back again on the “one” blend and Perkins fills the rest of bar eight and bar eight with a nifty guitar riff.
Over bars nine and ten, Perkins sings “do anything, but lay offa my blue suede shoes” over what’s known as the “five” chord. This individual finishes off of the pattern again on the main one chord with his great guitar riff again and then a complete pattern repeats itself as he launches into the “Well you can bump me down… ” of verse two.
“Blue Soft Shoes” is an outstanding example of the 12-bar blues pattern in rockabilly music. It’s actually to some extent unusual because the tune doesn’t have a specific chorus section. Instead, Kendrick builds what serves as his chorus straight into the last eight bars of the verse in order that the two actually share the same 12-bar pattern rather than using distinctly different patterns for each.