[Dixielandjazz] Bill Bailey last 7 bars

[Scott Anthony]

I was just about to respond the same way. It really is 8 bars.

Whenever I teach banjo or guitar (which is rarely, for sure), I emphasize 
the fact that most (not all) popular songs follow one of a number of harmony 
progression "patterns" as well as basic structures, like AABA ("I Ain't Got 
Nobody"), or just AA (like "Indiana"). "Bill Bailey" just happens to be a 
well known example of one of the structures (ABAC), and the chord 
progression for the last 8 bars is shared by maybe hundreds of tunes.

IMHO.

Scott Anthony

----- Original Message ----- 
From: "Tamas Ittzes" <bohem at fibermail.hu>
To: <santh at pacbell.net>
Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
Sent: Tuesday, July 03, 2007 3:01 PM
Subject: Re: [Dixielandjazz] Bill Bailey last 7 bars


> For me, the most important aspect is how many well known tunes use the
> last seven bars.  It's the last seven bars which clinches the Bill
> Bailey progression.
> -------------
> Why seven bars? Everybody has been mentioning that darned seven bars.
> Sorry folks, but this drives me crazy. Either 8 bars or you can say, 7
> bars out of the last 8, excluding the very last one (that could be tonic
> or dominant, too). As far as I know, the 32 bars are divided into 4
> times 8 bars and as far as harmonical structural identity can be found
> in those tunes, the sections that could be treated as units harmonically
> are mostly adequate with the form, i.e. you can split them into 2 or 4
> or 8 or 16 bar sections. No sense to mention 7 bars. OKOM is a
> mathematically simple style. Only a few composers, like Jelly Roll used
> those extra "inner extensions" (see Black Bottom Stomp's chorus - it's
> 20 bars instead of 16, just like Creamer and Layton's After You've
> Gone). So, let's stick to the even-numbered bars and let's avoid the
> odds. IMHO. Regards,
>
> Tamas
> _________________________________________________
> Tamas ITTZES
> violin teacher, ragtime pianist, festival organizer
> Bohem Ragtime Jazz Band
> Kecskemet Jazz Foundation
> Mailing address: H-6001 KECSKEMET, Pf. 652., Hungary
> Phone: +36(20)82-447-82
> E-mails: tamas at bohemragtime.com, bohem at fibermail.hu
> Web site: http://www.bohemragtime.com
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