Each beat is divided into three parts (“one-and-uh, two-and-uh, three-and-uh,” etc.) rather than two (“one-and, two-and, three-and…”), so swing eighths are felt on the beat (1, 2, 3, etc.) and on the “uhs.” Technically speaking a shuffle has a triplet feel. One of the key rhythmic ingredients of the blues is the shuffle feel, which is most easily described as eighth notes played not straight but in a “long-short” manner. Minor blues also has a different turnaround-bVI7–V7-im7-V7 (in the key of Gm, that would be Eb7–D7–Gm7–D7)-which can be heard in B.B. In the minor variation of the 12-bar blues, minor 7th chords are substituted for the I7 and IV7 chords. The final bars of the 12-bar form constitute the turnaround, named as such because it sends you back to the beginning of the form for another chorus. Another typical substitution involves playing the IV7 chord in measures 1–2 and the I7 chord in measures 3–4. There are variations within the form, the most common being the quick change, where the IV7 chord sits in for the I7 in measure 2.
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