B section for 12 bar blues rock
- Thread starter Heat
- Start date
Buffalo Bob
New member
"...got so bored I had to modulate..."
Well, there's an idea I work with daily
trying to work with the 12 bar blues form. It comes so naturally, then you've got to make it different from the 10,000 good songs that are also 12 bar blues.
Well, a thing I've been doing,
is take the B section down a minor third.
So, if you were in E,A,E,B7, you go down to:
C#,F#,C#,G#7, and your minor thirds are still the e, a, and b notes.
You can keep the bass playing the same thing, so it plays against the minor thirds of the new chords, rather than the root.
Sorry if this is too obvious, but I like it.
trying to work with the 12 bar blues form. It comes so naturally, then you've got to make it different from the 10,000 good songs that are also 12 bar blues.
Well, a thing I've been doing,
is take the B section down a minor third.
So, if you were in E,A,E,B7, you go down to:
C#,F#,C#,G#7, and your minor thirds are still the e, a, and b notes.
You can keep the bass playing the same thing, so it plays against the minor thirds of the new chords, rather than the root.
Sorry if this is too obvious, but I like it.
TexRoadkill
Audio Bum
Actually those chords are the Relative Minors. They are very handy for bridges and anyplace you want to change up the usual 1,4,5.
For those that dont know:
To find the relative minor for any major chord just go down 3 half steps from the root.
C - Am
D - Bm
etc.
Almost all pop/rock/blues songs are 1,4,5 with relative minors exchanged for the root chords here and there.
For those that dont know:
To find the relative minor for any major chord just go down 3 half steps from the root.
C - Am
D - Bm
etc.
Almost all pop/rock/blues songs are 1,4,5 with relative minors exchanged for the root chords here and there.
dragonworks
Banned
alot of hendrixs solos were in different keys from the rest of the song. Wind cries mary, Purple Haze, take a listen and see if ya get anything from that. Remember when you change key it doesnt have to go to the root of the key. I have a tune in G that I change to the key of E but when I change I go to an A which is the fourth in the key of E and finally wind up with the song transposed to E major. Just a suggestion. Its not a blues tune but is basically a 1-4-5.
Heres a blues progression that I wrote.
Bminor-F sharp major, Dmajor 7th-Gmajor 7th-C7th
Eminor-F sharp major.
Bminor-Amajor-Gmajor-Fsharp major(quick walkdown)
Bminor-G7th-Bminor-G7th (Resolution without going to the 5th, Fmajor)
There is also an intro and middle break and end with diminished chords etc, but not necessary.
of course it is difficult to convey without timing but it works.
Im just rambling off the subject but I hope some of this helps.:
Heres a blues progression that I wrote.
Bminor-F sharp major, Dmajor 7th-Gmajor 7th-C7th
Eminor-F sharp major.
Bminor-Amajor-Gmajor-Fsharp major(quick walkdown)
Bminor-G7th-Bminor-G7th (Resolution without going to the 5th, Fmajor)
There is also an intro and middle break and end with diminished chords etc, but not necessary.
of course it is difficult to convey without timing but it works.
Im just rambling off the subject but I hope some of this helps.:
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