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Rockabilly Music Followed a Simple Formula to Create a Revolution – And Also Broke The Rules!
In some ways, the various flavors of popular music have been across the board stylistically. There are big differences between Sinatra and Hank Williams! But in other ways—structurally—it’s amazing how closely different pop styles follow similar structural patterns. In this respect, rockabilly music has a lot in common with many other genres of popular music.
Emerging from the amalgamation of country, blues, gospel, and rhythm and blues music of the early half of the last century, it should come as no surprise that rockabilly music has much in common with each of those genres. In particular, rockabilly songs often follow the familiar 12-bar blues style that forms the basis of millions of songs written and recorded not only in the blues style, but also country, rock and roll, folk music and many others. .
So, what exactly is a “12-bar blues” pattern? For musicians who play in any of the styles I’ve mentioned here, sampling is second nature. Musicians who don’t pay much attention to music theory may not realize they’re playing the pattern—it just seems to be embedded in many songs. But many non-musicians have probably heard the term and wondered what it is. And for rockabilly fans, why should you care?
Well, you certainly don’t need to understand 12-bar blues to enjoy rockabilly music, but if you’re interested in knowing how it works, here’s a basic down-and-dirty summary there are!
A sample is simply a structure that a songwriter uses to create a song that makes sense to a Western listener. There is no rule for what a singer says don’t be forced Stick to the structure, but you can’t go wrong with it. The structure immediately brings familiarity to the listener and allows them to feel comfortable with where the song is going. The composer often uses this structure in the verses of the song and – unsurprisingly given the structure’s name – it is 12 bars, or measures, long. The end of those 12 bars easily leads into the next part of the song, whether it’s another 12-bar verse pattern or a variation used as a chorus, solo, or bridge section.
Let’s take Carl Perkins’ classic song “Blue Suede Shoes” as an example. The song follows the 12-bar blues structure and may be the greatest rockabilly song ever written. Consider the first verse of the song where Perkins helps us count the measures and gives us the famous “Well that’s one for the money, two for the show, three to get ready, now go cat.”
The words “one”, “two” and “three” fall on the first beat of measures one, two and three of the verse. Add “go cat go” and you’ve got four of the 12 bars in the sample. Perkins uses essentially the same musical chord for those first four measures. That chord may be a specific E or A or some other chord, depending on the key in which the song is played, but it is commonly known as the “one” chord. Choosing that chord depends on the 12-bar blues in that a very common chord pattern (one, four, one, five, one) usually starts with the 12-bar pattern. That’s another discussion for another day and goes deeper into music theory than most viewers want to get!
After these first four bars, the song changes to what is known as the “four” chord and the melody of the song changes accordingly. The song stays on four chords for two bars. In our example, Perkins sings, “Don’t you step on my blue suede now,” and we’re halfway through six bars. The word “shoes” leads the seventh bar of the sample back to the “one” chord and Perkins fills the rest of the seventh and eighth bars with a great guitar riff.
On bars nine and ten, Perkins sings “Do Anything But Leave My Blue Suede Shoes” over what is known as a “five” chord. He ends the pattern again on one chord with his massive guitar strum and then repeats his entire pattern as he begins the second verse’s “Well you can break me…”.
“Blue Suede Shoes” is a classic example of the 12-bar blues pattern in rockabilly music. It’s actually a little unusual because the song doesn’t have a separate chorus part. Instead, Perkins builds what he does as his chorus right into the last eight bars of the verse so that the two actually share the same 12-bar pattern instead of using different patterns for each.
“Blue Suede Shoes” is simply a great example of a 12-bar blues pattern used in rockabilly and other forms of popular music. Things get even more interesting when songwriters start playing and experimenting around the standard format. There is no set rule about how many bars a song or its individual parts should have. For example, Gene Vincent’s brilliant “Be Bop a Lula” uses a standard 12-bar blues pattern for the chorus (where Gene sings, “Be Bop a Lula that’s my baby. Be Bop a Lula I don’t say maybe.” and so.) But his verse parts use an unusual eight-bar pattern and it all works well.
If you think of the 12-bar blues style as a rule, then songs like “Blue Suede Shoes” prove that the rules make rockabilly music great. And songs like “Be Bop a Lula” prove that, with rockabilly, rules are made to be broken!
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