Understanding the Blues Progression: Myths and Realities

When discussing the structure of blues music, many of us are familiar with the 12-bar blues progression, but what is it really composed of? And more importantly, which of the following statements about a typical blues progression is not true?

The 12-Bar Blues Progression

Blues songs, especially in their most traditional form, adhere to a set structure known as the 12-bar blues progression. This formula is widely recognized and foundational in the world of blues. The harmony follows a consistent pattern distributed across 12 measures or bars, making it a cornerstone of blues music.

The typical 12-bar blues chord progression is as follows:

4 bars of the tonic chord (I) 2 bars of the sub-dominant chord (IV) 2 bars of the tonic chord (I) 1 bar of the dominant chord (V) 1 bar of the sub-dominant chord (IV) 1 bar of the tonic chord (I) 1 bar of the dominant chord (V) leading back to the tonic key (turn-around chord)

It is important to note that while this 12-bar blues progression is prevalent, it is not the only form. Some enthusiasts and musicians may vary from this structure. One example is the song "Key to the Highway," which utilizes an 8-bar form: 1 bar of the tonic chord (I), 1 bar of the dominant chord (V), 2 bars of the sub-dominant chord (IV), 1 bar of the tonic chord (I), 1 bar of the dominant chord (V), 1 bar of the tonic chord (I), and a final bar of the dominant chord leading back to the tonic (turn-around chord).

Myths About the Blues Progression

Despite the popularity and reoccurring nature of the 12-bar blues, there are many myths and misconceptions circulating about its composition. Here are some statements, some of which are not true of a typical blues progression, and explain why they are misleading:

Being made of Edam Cheese: This statement is clearly a joke or metaphorical expression, as blues songs are not physically composed of food items. This is not a fact about the progression's structure. Smelling like Tuesday afternoons: Another humorous reference, but atmosphere and smell are not elements of a musical progression. Blues music might evoke certain feelings, but these are more abstract and not literal. Having edges so sharp you could split human hairs with them: This is an exaggerated and nonsensical statement. The structure of a musical progression is theoretical and conceptual, not material that can be physically cut. Resembling an inside-out doorknob: This is a creative and abstract comparison, but it is unrelated to the structure or function of a blues progression. The progression is a series of chord changes, not a physical object with a specific shape. Capable of recognizing themselves in the mirror: This could metaphorically suggest self-awareness, but in the context of music, it does not make sense. Blues songs are artificial creations, not living beings capable of self-recognition. Having a Young's Modulus between 2 and 3.5: Young's Modulus is a measure of elasticity in physics, typically used for materials. It is irrelevant to the structure or composition of a blues progression.

Conclusion

While the 12-bar blues progression is the most recognizable and fundamental structure in blues music, it is important to debunk the myths surrounding it. Understanding the true nature of this progression can help both musicians and listeners appreciate the depth and complexity of blues music. The progression is a series of chord changes that follow a specific pattern, evoking a certain feeling and style but not anything related to physical properties or recognizable objects.

By clearing up these common misconceptions, we can deepen our appreciation for the true essence of the blues.