Please consider registering
sp_LogInOut Log Insp_Registration Register
Register | Lost password?
Advanced Search
Forum Scope


Forum Options

Minimum search word length is 3 characters - maximum search word length is 84 characters
sp_Feed sp_TopicIcon
Beatles' use of 12-bar blues
29 July 2015
Matt Busby
In the town where I was born
Shea Stadium
Forum Posts: 932
Member Since:
8 February 2014
sp_UserOfflineSmall Offline

I found this very interesting analysis of the Beatles use of 12-bar blues. One interesting thing is that they used interesting and (afaik) innovative variations on the standard chord progression, using 7ths, 9th, ending on the dominant chord, changing it to a 6-bar or 24-bar sequence. I’d like to learn more about 12-bar blues, the basic blues progression, and hear comments. In particular, it seems to me like there are other Beatles songs that are based are written on a blues progression (I’m So Tired is one), but I don’t know the theory behind it well enough to know for sure. There’s a song on a bootleg I found called “Bar Unoriginal” which is a slow mishmash of three songs (Can’t Buy Me Love , Everybody’s Trying To Be My Baby , and Honey Don’t ), all put into the same key, same beat, same chord progression. I put it out on youtube but it’s only gotten 29 views – it really isn’t that exciting but it’s relevant to this topic.

The bio on the dude who wrote this sounds like he might have some other stuff of interest to us: “The United States of America’s only full-time professional Beatles scholar, Aaron Krerowicz graduated from Butler University with a Bachelor’s of Music in Theory & Composition in 2008, from Boston University in 2010 with a Master’s of Music in Composition, and from the Hartt School of the University of Hartford with a Graduate Artist Diploma in the same discipline in 2012.

I took a quick look at his site and it looks like it has a lot of interesting stuff in the musicology department of Beatles music. This is not a commercial for the dude he just looks interesting…

The following people thank Matt Busby for this post:

Shamrock Womlbs, Oudis

Half of what I say is meaningless...

I feel good in a special way, I'm in love and it's a sunny day earns royalties if you use these links when shopping: Amazon | iTunes

30 July 2015
Shamrock Womlbs
Waiting for the van to come
Forum Posts: 3972
Member Since:
24 March 2014
sp_UserOfflineSmall Offline

I think the use of the dominant seventh chord at the end of the 12-bar blues progression to return to the tonality main chord could be an influence , or a clever advice, from George Martin. Since that is a very “classic harmony” thing to do and G. Martin was trained in classical music and composing and stuff… and if you see the analysis for One After 909 (a song they made in their very early days, before they met George) they didn’t use the dominant seventh chord as a returning thing.

So that probably was a trick that G. Martin did to make the blues kinda more accessible or more recognizable for everyone.

The following people thank Shamrock Womlbs for this post:

Matt Busby

"I Need You by George Harrison"

Forum Timezone: Europe/London
Most Users Ever Online: 700
Currently Online: KyleKartan
Guest(s) 1
Currently Browsing this Page:
1 Guest(s)
Top Posters:
Starr Shine?: 16105
Ron Nasty: 12534
Zig: 9832
50yearslate: 8759
Necko: 8043
AppleScruffJunior: 7583
parlance: 7111
mr. Sun king coming together: 6402
Mr. Kite: 6147
trcanberra: 6064
Member Stats:
Guest Posters: 88
Members: 2859
Moderators: 5
Admins: 1
Forum Stats:
Groups: 3
Forums: 44
Topics: 5519
Posts: 380539
Newest Members:
seo mavia, adamo3, katybphoto, sleeptalker, Lovethebeatles
Moderators: Joe: 5694, meanmistermustard: 24964, Ahhh Girl: 22227, Beatlebug: 18182, The Hole Got Fixed: 8410
Administrators: Joe: 5694