Tricks For Differentiating The Two Blues Chord Progressions

Tricks For Differentiating The Two Blues Chord Progressions Sign up successful I typically teach one song for each. The first is Robert Johnsons Sweet Home Chicago listen to the song here: The other song I like to use is Leroy Carrs How Long Blues: Ive taught other students (with whom a shared enthusiasm for blues and blues-based music is not as apparent) each progression using other tricks. The Eight-Bar Progression Begins With Two (Not Four) Measures Of The First Chord The structure of the twelve-bar pattern is as follows: E-E-E-E-A-A-E-E-B7-A-E-E/B7. Although Johnson switches to A for the second measure and then back to E for the third (which is an acceptable variation), he adheres to all of the changes Ive identified. The eight-bar progression follows a similar albeit condensed sequence: E-E-A-E-E-B7-E-E/B7. The YouTube version Ive included above involves another acceptable variation: an A minor chord instead of an E major one during the fourth measure of the verses. One of the easiest differences to remember between this sequence and its twelve-bar counterpart is the opening of each. The eight-bar opening is merely half the length of the twelve-bar one as E (in this case) and is played for only two measures. The Eight-Bar Progressions First Change Lasts One (Not Two) Measures Again, the eight-bar pattern represents 50% of another of the twelve-bar segments as A (in this case), and is played for only one measure. The Eight-Bar Progressions Closing Involves Two (Not Three) Chords Think of the twelve-bar closing as rolling down a hill. You start at the top (at B7 in this case), roll down to the chord behind it (A), and arrive back down at the foot (E), staying on each chord for no longer than one measure. The eight-bars closing (by contrast) involves a simple return to the foot. You might even consider using Star Trek terminology here and think of your hand being beamed back down to E instead of rolling back to it. The ending measure of each of these blues chord progressions is identical, though probably the most difficult measure (in both cases) to learn to play. It involves more than one chord and a change only one-fourth of the way in (EB7B7B7). I dub this final chord (B7) the interrupting chord. Unlike the other chords, its awkward and abrupt. However, its as essential to each progression as the other chords are. A feisty accent is a more acceptable ending for a blues stanza than merely having it drift off on the chord it began on. Samuel B. teaches beginner  guitar lessons in Austin, TX. He teaches lessons face-to-face without sheet music, which is his adaptation of Japanese instruction (involving a call-and-response method).  Learn more about Samuel here! Interested in Private Lessons? Search thousands of teachers for local and live, online lessons. Sign up for convenient, affordable private lessons today! Search for Your Teacher Photo  by  simon_music