One popular guitar style I sometimes use on the uke is the alternating-thumb fingerpicking popularized by acoustic blues guitarists of the 1930s, like Mississippi John Hurt and Blind Blake. ![]() The result can be pleasing to the ear, and can even push the envelope for ukers, creating new styles and sounds in the process.Ĭheck out more blues ukulele lessons here ISBN 978-0-7866-7393-3.Because the ukulele and guitar have so much in common, uke players like me, who started on guitar, are inclined to adapt their guitar skills to the uke. ^ a b David Barrett, John Garcia (2008).^ Michael Pilhofer and Holly Day, Music Theory For Dummies (London: John Wiley & Sons, 2011), 244.Fayetteville, Arkansas: University of Arkansas Press. Blues Harmonica Jam Tracks & Soloing Concepts #1. Complete Blues Guitar Method: Mastering Blues Guitar. Examples are " Nine Pound Hammer" and Ray Charles's original instrumental "Sweet Sixteen Bars". The same chord progression can also be called a sixteen-bar blues, if each symbol above is taken to be a half note in 2Ĥ time. The same four bar progression is used by the band Radiohead to make up the bulk of the song " Creep". For example, the song " Ain't Nobody's Business" as performed by Freddie King at least, uses a I–III–IV–iv progression in each of the first four bars. There are at least a few very successful songs using somewhat unusual chord progressions as well. The progression may be created by dropping the first four bars from the twelve-bar blues, as in the solo section of Bonnie Raitt's "Love Me Like a Man" and Buddy Guy's "Mary Had a Little Lamb": IV 7 The first four bar progression used by Wolf is also used in Nina Simone's 1965 version of " Trouble in Mind", but with a more uptempo beat than "Sitting on Top of the World": The song uses movement between major and dominant 7th and major and minor fourth: Howlin Wolf's version of " Sitting on Top of the World" is actually a 9 bar blues that adds an extra "V" chord at the end of the progression. Jimmy Rogers' "Walkin' By Myself" (somewhat unorthodox example of the form): "Get a Haircut" by George Thorogood (simple progression): Lenoir's "Slow Down" and "Key to the Highway" (variation with the V at bar 2): " Heartbreak Hotel" (variation with the I on the first half): Roman numerals are used so the musician may understand the progression of the chords regardless of the key it is played in. The chords are represented as scale degrees in Roman numeral analysis. If two chords are in the box they are each played for half a bar, etc. The chord in the box is played for the full bar. In the following examples each box represents a 'bar' of music (the specific time signature is not relevant). The move to the IV chord usually happens at bar 3 (as opposed to 5 in twelve bar) however, "the I chord moving to the V chord right away, in the second measure, is a characteristic of the eight-bar blues." One variant using this progression is to couple one eight-bar blues melody with a different eight-bar blues bridge to create a blues variant of the standard 32-bar song: "I Want a Little Girl" ( T-Bone Walker) and " Great Balls of Fire" ( Jerry Lee Lewis)( Įight-bar blues progressions have more variations than the more rigidly defined twelve bar format. " Worried Life Blues" ( Big Maceo, 1941)." Key to the Highway" ( Big Bill Broonzy, 1941). ![]()
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