By LARRY McCABE
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Additional resources for 101 Bad to the Bone
5 Basic 8-bar blues in A AE DD AE Ex. 6 Basic 8-bar blues in E AE BEB7 Ex. 7 Basic 8-bar blues in F Ex. 8 Basic 8-bar blues in Rb B F7 E" EL’7 F7 Ex. 9 Basic 8-bar blues in Eb 38 B’ F7 VARIATIONS ON THE BASIC 8-BAR BLUES PROGRESSION Like the blues forms discussed previously, there are a number of standard 8-bar blues progressions. Examples 10-17 below show several common variations on the basic 8-bar blues progression. Each variation appears first in Roman Numerals; the Roman Numerals are then transposed to the key of C.
Next, apply another four-beat pattern to the chart. Although patterns can sometimes be mixed, it is best to use only one pattern per song at first. 3. After you are comfortable applying a variety of four-beat patterns to the 12-bar blues in G, try to apply an 8-beat C7 pattern to the progression. An eight-beat pattern will require modification when a chord is played for only four beats see "Pattern Modifications on page 7. 40 ExampLe 2 12-bar blues in A A7 E7 D7 A7 A7 D7 A7 A7 D7 A7 E7 Always end the song on the tonic chord: Play measures 1-12 as many times as you wish, then end on an A7 chord.
6 Pattern 19 is a combination pattern C7 Combination patterns in this book: Numbers 4, 12, 14, 16,19,21, 26, 32, 34, 40,45,51,56,68,75, 76, 79, 81, 85, 87, 89, 90, 92, 98, 101. I- T A B 53 53 3 Additional Comments on Rhythm Patterns Harmonically speaking, all accompaniment patterns are primarily influenced by the tones of the prevailing chord this same principle is true for bass lines, solos, and vocal harmonies. Non-chord tones, known as passing tones, are sometimes used as "stepping stones" to move from one chord tone to another.
101 Bad to the Bone by LARRY McCABE