12-BAR BLUES complete guide for guitar-Dave Rubin BOOK CD TABLATURE SPARTITI CHITARRA METODO

12-BAR BLUES. Inside the blues. The complete guide for guitar. La chitarra ritmica blues, all'interno delle 12 battute. Esempi di Boogie woogie, shuffle, swing, riff, jazzy blues, Chicago blues, bebop blues, turnarounds, intros, 1 soloing, tutto sotto una luce "blues". Con 24 jam pronte di D. Rubin. CD TABLATURE

 

LIBRO METODO DI MUSICA BLUES CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE.

 


Series: Guitar Educational
Softcover with CD - TABLATURE
Author: Dave Rubin

The term "12-bar blues" has become synonymous with blues music and is the basis for an incredible body of jazz, rock 'n' roll, and other forms of popular music. This book/CD pack is solely devoted to providing guitarists with all the technical tools necessary for playing 12-bar blues with authority. The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues progressions; Chicago, minor, slow, bebop, and other blues styles; soloing, intros, turnarounds, accompanying keyboards and more. In standard notation and tablature. 64 pages.

nel CD comprese 24 basi complete

Slow 12/8, swinging shuffle, moderate boogie shuffle, chicago riffs blues, slow minor blues, jazzy minor blues, riff blues, boogie woogie blues, jazzy blues, jazzer blues, bebop blues, accompanying kayboards, Turnarounds, intros, soloing over a 12 bar blues. 

 

INTRODUCTION

The Origin of 12-Bar Blues By Dave Rubin and Edward Komara

 

The 12-bar blues is a musical building block that can be used to provide moving and exhaustive performances. With an elegant logic unique to the blues genre, the I, IV, and V changes guide the feet and arms from one dance step to another. When words are added and sung, they can acquire from these changes an ironic inflection that can be humorous or sarcastic. With a shuffle beat mimicking the beating of the human heart on adrenaline, the 12-bar progression can become the basis of a self-perpetuating cycle well-suited for vivid narratives or exuberant frolics. The I chord (meas. 1-4) presents the initial melody, and the IV chord (meas. 5-6) resets it with some degree of harmonic tension before the I chord reappears with sweet relief (meas. 7-8). The V chord (meas. 9) breathtakingly caps the momentum and then the turnaround (meas. 11-12) closes the chorus while at the same time preparing for the next installment of twelve bars.

 

The 12-bar blues as we know it, with three melodic phrases of four measures each and the second phrase starting on the IV chord, has its roots back in England during the time of Henry VIII. There, in the mid 1500s, twelve-measure modal folk tunes with three phrases were reported for the first time. It would be another 150 years or so before this "note per syllable" singing would give

way to figured bass and eventually tonality (chord changes) by way of opera. Example

1, "I Have Been a Foster," is a modal composition typical of the period. Note, however, that though it mostly centers on F, it ends (presciently?) on C, the V chord. If we strictly adhere to the notated key of C, it could also be seen as IV (F) resolving to I (C). Admittedly, this is looking at this example from modal antiquity through the high-resolution tonal lens of the late twentieth century, but the implied motion of either I-V or IV-I is there.

Just across the Irish Sea, from England, Irish fiddlers were developing twelve-measure ditties, also sans harmonic changes, as early as 1620

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61