Comparatively, different flavors of popular music have been everywhere over the board stylistically. There are big dissimilarities between Sinatra and Hank Williams! Nevertheless 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. free musically followers
Having cultivated out of a blend of country, blues, gospel, and rhythm and blues music of early half of last century, it ought not to 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 style that forms the basis of millions of tunes which may have 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 artists who play in different of the styles I’ve mentioned here, the pattern is second nature. Musicians who may pay much attention to music theory might not exactly even realize they’re playing the pattern–it just appears in so many songs that it’s been ingrained into them. But many no musicians have maybe read the term and considered what it’s all about. And for rockabilly enthusiasts, why should you caution?
Well, you certainly are not required to be familiar with 12-bar doldrums pattern to take pleasure from 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 track which makes sense to the western listener’s ear. There is no law that says a song writer must stick to the framework, but one can’t go too far wrong with it. The structure brings instant familiarity to the listener and makes them feel comfortable with the place that the song’s going. The the composer applies this structure typically to the verses of the song and–not amazingly given the structure’s name–it is 12 bars, or musical measures, long. The final 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 finest rockabilly song ever written. Think of the first verse of the music where Perkins helps all of us count out the steps by giving us with the famous “Well is actually one for the money, two for the show, three to get ready, now go cat go. ”
The “one, inch “two, ” and “three” of the lyrics show up on the first defeat 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 Electronic 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 style (one, four, one, five, one) typically works jointly with the 12-bar design. That’s another discussion another day and starts plunging deeper into music theory than most fans need to get!
After those first four bars, the song fuses to what’s known as the “four” chord and the song’s melody changes accordingly. The song remains 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 phrase “shoes leg techinques off the seventh club of the pattern again on the “one” blend and Perkins fills the rest of bar several and bar eight with a nifty guitar riff.