![]() Surely, the tonic and dominant tones will be natural resting points or central tones for the melody.įocus on rhythm more than a traditional notion of melodic contour. There are many variations of this cadence, and may be V-IV-I or V-I or II-V-I, etc.In typical melody writing the melody often uses tones that match the chords along with the careful use of non-chord tones.īut in 12-bar blues the general feeling is: any note of the blues scale can be played over any chord in the progression, so the rule of thumb above doesn't really apply to the blues. There is a cadence starting in measure 9 going from the Dominant (V) to the Subdominant (IV) finally to the Tonic (I) in measure 11. Therefore, the Tonic is F, the Dominant is C, and the subdominant is B-flat. In the example below, we use the F major key. The 9th measure begins a cadence progressing to the Toic (I chord) ![]() The 5th measure is typically the Subdominant (IV chord), or the chord based on the fourth step of the Tonic scaleģ. General elements of the 12-bar blues progressionĢ. The basic blues progression uses 3 chords - the tonic (I) or the chord that the song is centered on, the dominant (V) or the chord based on the fifth step of the Tonic scale, and the subdominant (IV) or the chord based on the fourth step of the Tonic scale. Countless jazz and popular songs have been composed within the structure of this series or progression of chords. This is one of the most well-known chord progressions in popular music of the 19th century.
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