Comparatively, different flavors of popular music have been all around the board stylistically. There are big distinctions 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 much in common with many different genres of popular music. musically followers
Having expanded out of a combo of country, blues, gospel, and rhythm and blues music of the first half of last century, it should be too surprising that rockabilly music shares much in common with each of these genres. Specifically, rockabilly songs typically follow the familiar 12-bar blues style that forms the groundwork of millions of tracks 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 avoid 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 observed the term and thought about what it’s all about. And for rockabilly supporters, 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 tune which makes sense to the western listener’s ear. Discover 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 where song’s going. The the composer applies this structure typically to the verses of the song and–not astonishingly given the structure’s name–it is 12 bars, or musical measures, long. The conclusion of those 12 pubs leads comfortably into the next part of the music 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 tune where Perkins helps all of us count out the actions 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, inches “two, ” and “three” of the lyrics fall season on the first do better than 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 in this a very common chording style (one, four, one, five, one) typically works collectively with the 12-bar style. That’s another discussion another day and starts delving deeper into music theory than most fans need to get!