This is probably a naive question, but in the key of C - for example - I've always been taught II stood for Dm and VI stood for Am ... but in your examples I think you are saying II stands for D Major and VI stands for A Major - can you straighten this out for me at all? I don't know the proper order to watch your videos, but this is the first time you lost me in my first two weeks of watching you and learning from your boogie woogie book. [I don't have a piano at my computer ... I think that is a detriment for me.] I just watched your video on what the numbers stand for - but you didn't cover the II (two) and VI (six) chords. I've grown attached to you, Arthur. Please don't fail me now buddy. lol
Johnny, great question! First, if the chords are minor, they will be written with lower case roman numerals, like ii and vi. Second, in many contexts such as jazz, classical, pop, R&B, even some blues... the II chord will be a minor ii. The V chord is pretty much always a V7, though, so you can count on that. The VI chord will usually be a VI7 (dominant 7 chord) in blues, especially if it is used in a 12 bar blues like I describe. The II chord in blues will be either a ii7 or a II7, depending on the song or (if you are writing the song) depending on what sound you want. The ii7 will sound more diatonic, whereas the II7 will take you into a new key signature so it will sound kind of "surprising". Experiment with both sounds in your own playing and get a feel for what they are. Then you will be able to recognize the difference when you hear it. Either one is perfectly normal and will show up, so it's best to be familiar with both.
Hello @@thearthurmigliazza. I've been trying to analyze the structure from BABY PLEASE DON'T GO, Muddy Waters has a nice version. I don't know what he is doing. Could be possible that he alternates a 8 bar blues with a 12 bar blues in the solos? It would be nice if you could answer about how the 8 bar blues works because I don't understand it very well. Thanks.
Chuck Berry often didn't tour with a steady band. He was an ornery band leader who counted on the house band at any venue to know his whole set without rehearsing with him, so he could just walk in and hit the stage. Story goes, that often his only guidance to the band walking on was "Never go to the 4" on the turnarounds.
This video is absolutely brilliant. Packed with such neat and essential information, I'm not sooooo confused as to what's happening in those 12-Bars anymore. Thank you!
The first book I learnt from in the mid 1970's as a 13 year old was Lead Guitar by Harvey Vinson, based around 12 bar blues and it's remained ingrained in me. Taking up piano in my 50's it's your books and teaching that have helped me to improvise 12-bar. Thanks, for great explanations in this lesson, Arthur.
🎵 Arthur this is so informative! This clears up a lot that many may find mystifying about the blues. You are so right, the blues doesn't have to be just the I, IV and V but man, they gotta be there! Thanks so much for posting what is probably the most useful video on UA-cam about the blues! Marvellous! And in your shorts! Cheers! 🎵
Growing up I always heard the “fast 4 “ called doing a “quick change”of course I’m pretty dated at 77 years old. Most of this was back in the 60’s for me when I took up bass guitar and played in blues band. Couldn’t carry my acoustic piano, big I sure wanted to play in a band. So I did
Thanks Mike. In the Otis spann example the 2 and 5 are both dominant (the I chord is minor). In the Louis Jordan example the II is minor7 the V is dominant 7. But as a general answer to your question, it will depend on each song and the sound that the composer was going for. Be ready for either :-)
Loving the new content! Thanks so much Arthur! Would you be able to cover playing a few left hand patterns that include the II and VI variations? Not really sure what to be playing especially on the two beat II and VI.
Well done, great introduction to the 12 bar format, thanks. Nonetheless, the instrumental intro of Johnny B. Goode is on IV in bar 10 whereas it stays on V in the rest of the song.
Excellent ear my friend. Gold star for you! My guess is that no one told the bass player (or he forgot) and then when he realized Chuck didn't do it he stayed on the V from then on. Can't help but wonder what a person with such a good ear is doing watching a tutorial on the 12 bar blues form though.. ?
I've been experimenting with a nice variation lately more of a gospel/blues I believe. But if you have the knowledge plz enlighten me. It's mainly in major except for a quick minor switch. goes something like this 1,3,4,4min,1,6,2,5,1,4,1,5 Hope you get what I mean. Hmm now that a started counting it's more like a 16-bar blues but still sounds cool:)
I know what you mean man! I think of that as being the west coast/Ray Charles kinda style One really elegant thing you can do is rather than using the iv minor chord, you can do a quick VI and then II each taking half the time of the minor chord Or you can go up to the IV like normal. And then instead of the minor chord, chromatically walk down to the II chord If you hold the fifth degree of the scale on the IV chord when you chromatically go down, it becomes the dominant seventh of the II chord It’s a really cool world. And there’s so many interesting chords you can add to all these blues progressions. Almost makes me feel like the 12 bar is the least interesting of the bunch 😂
Thanks for putting this together Arthur. Absolutely fascinating and I love your way of teaching. I’m trying to spend more time listening to boogie and blues music as I definitely think it helps me to improve as a pianist. Keep up the good work! Cheers, John.✨👍✨
This is probably a naive question, but in the key of C - for example - I've always been taught II stood for Dm and VI stood for Am ... but in your examples I think you are saying II stands for D Major and VI stands for A Major - can you straighten this out for me at all? I don't know the proper order to watch your videos, but this is the first time you lost me in my first two weeks of watching you and learning from your boogie woogie book. [I don't have a piano at my computer ... I think that is a detriment for me.] I just watched your video on what the numbers stand for - but you didn't cover the II (two) and VI (six) chords. I've grown attached to you, Arthur. Please don't fail me now buddy. lol
Johnny, great question! First, if the chords are minor, they will be written with lower case roman numerals, like ii and vi. Second, in many contexts such as jazz, classical, pop, R&B, even some blues... the II chord will be a minor ii. The V chord is pretty much always a V7, though, so you can count on that. The VI chord will usually be a VI7 (dominant 7 chord) in blues, especially if it is used in a 12 bar blues like I describe. The II chord in blues will be either a ii7 or a II7, depending on the song or (if you are writing the song) depending on what sound you want.
The ii7 will sound more diatonic, whereas the II7 will take you into a new key signature so it will sound kind of "surprising".
Experiment with both sounds in your own playing and get a feel for what they are. Then you will be able to recognize the difference when you hear it. Either one is perfectly normal and will show up, so it's best to be familiar with both.
@@thearthurmigliazza There is no way in the world I should be entitled to speak to you. You are an absolute Godsend. Thank you!!!!
@@johnnyrockett978 Haha thanks johnny I'm happy to help :-)
Hello @@thearthurmigliazza. I've been trying to analyze the structure from BABY PLEASE DON'T GO, Muddy Waters has a nice version. I don't know what he is doing. Could be possible that he alternates a 8 bar blues with a 12 bar blues in the solos? It would be nice if you could answer about how the 8 bar blues works because I don't understand it very well. Thanks.
Chuck Berry often didn't tour with a steady band. He was an ornery band leader who counted on the house band at any venue to know his whole set without rehearsing with him, so he could just walk in and hit the stage. Story goes, that often his only guidance to the band walking on was "Never go to the 4" on the turnarounds.
This video is absolutely brilliant. Packed with such neat and essential information, I'm not sooooo confused as to what's happening in those 12-Bars anymore. Thank you!
What a nice comment, thank you for taking the time to tell me! So happy it helped clear up some confusion!
The first book I learnt from in the mid 1970's as a 13 year old was Lead Guitar by Harvey Vinson, based around 12 bar blues and it's remained ingrained in me. Taking up piano in my 50's it's your books and teaching that have helped me to improvise 12-bar. Thanks, for great explanations in this lesson, Arthur.
8 bar blues supremacy, mate. Nice one ☝️
Youre awesome, love blues.
Thanks for adding Muddy! Gained my love of blues from him. Learned about him from studying Jimi as a kid and been hooked since then. Great info here.
So much fun. Thanks Arthur!
Have you tried a boogie on the Coltrane Changes yet? If anyone can pull it off, it’s you!
Haha, nope that's all you my man!
@@thearthurmigliazza lol!
Excellent tutorial. Enlightening.
This is absolute gold, thanks so much man! :)
🎵 Arthur this is so informative! This clears up a lot that many may find mystifying about the blues. You are so right, the blues doesn't have to be just the I, IV and V but man, they gotta be there! Thanks so much for posting what is probably the most useful video on UA-cam about the blues! Marvellous! And in your shorts! Cheers! 🎵
Thanks Dave! Wow what a nice comment! I'm glad my videos are helpful. :-)
Love your teaching style and content.
In most music @ 16:33 if it's a minor 2 the Roman numerals are lower cased in exception to. Secondary dominants
Yup! Absolutely correct.
Growing up I always heard the “fast 4 “ called doing a “quick change”of course I’m pretty dated at 77 years old. Most of this was back in the 60’s for me when I took up bass guitar and played in blues band. Couldn’t carry my acoustic piano, big I sure wanted to play in a band. So I did
That's cool bruce where did you grow up?
Hiiiiiiipe!!!! excellent masterclass😊😊😊😊😊👌
Great lesson! Quick question- on the 2-5-1 version are all the chords dominant or a classic 2-5-1 jazz progression? Thanks, Mike.
Thanks Mike. In the Otis spann example the 2 and 5 are both dominant (the I chord is minor). In the Louis Jordan example the II is minor7 the V is dominant 7.
But as a general answer to your question, it will depend on each song and the sound that the composer was going for. Be ready for either :-)
Loving the new content! Thanks so much Arthur! Would you be able to cover playing a few left hand patterns that include the II and VI variations? Not really sure what to be playing especially on the two beat II and VI.
Well done, great introduction to the 12 bar format, thanks.
Nonetheless, the instrumental intro of Johnny B. Goode is on IV in bar 10 whereas it stays on V in the rest of the song.
Excellent ear my friend. Gold star for you! My guess is that no one told the bass player (or he forgot) and then when he realized Chuck didn't do it he stayed on the V from then on.
Can't help but wonder what a person with such a good ear is doing watching a tutorial on the 12 bar blues form though.. ?
I'm just some spare-time-guitar player enjoying yout excellent pisno channel.
Great.
I've been experimenting with a nice variation lately more of a gospel/blues I believe. But if you have the knowledge plz enlighten me. It's mainly in major except for a quick minor switch.
goes something like this 1,3,4,4min,1,6,2,5,1,4,1,5 Hope you get what I mean. Hmm now that a started counting it's more like a 16-bar blues but still sounds cool:)
I know what you mean man! I think of that as being the west coast/Ray Charles kinda style
One really elegant thing you can do is rather than using the iv minor chord, you can do a quick VI and then II each taking half the time of the minor chord
Or you can go up to the IV like normal. And then instead of the minor chord, chromatically walk down to the II chord
If you hold the fifth degree of the scale on the IV chord when you chromatically go down, it becomes the dominant seventh of the II chord
It’s a really cool world. And there’s so many interesting chords you can add to all these blues progressions. Almost makes me feel like the 12 bar is the least interesting of the bunch 😂
@@Zilegil Interesting indeed I'll be sure to check that out thanks:)
Благодарю за лекцию!
с удовольствием!
does this work with kazoo or only church organ?
Super cool Arthur!!
Thanks for putting this together Arthur. Absolutely fascinating and I love your way of teaching. I’m trying to spend more time listening to boogie and blues music as I definitely think it helps me to improve as a pianist. Keep up the good work! Cheers, John.✨👍✨
Aha the ending though
Ha! I put that in there to see if anyone actually watches the entire video. You are the first! 🏆
@@thearthurmigliazza Aha always stay to the end especially if you're a Marvel fan. No seriously, you never know what info you could miss!
сделай субтитры на русском языке!