‘Rock Around the Clock’ ‘Look closely at the words of ‘Rock Around the Clock’. In verse 1 you will notice that the chords have been indicated in some but not all bars. Listen to the song again. Can you hear which chords (I, 1V or V) fit into the missing bars? When you have worked out the ottect chords for the first verse, write them in the table that follows the song, filling in ‘the gaps and writing the correct Roman name for each chord underneath. Introduction One, two, three o’clock, four o'clock rock Five, six, seven o'clock, eight o'clock rock ‘Nine, ten, eleven o'clock, twelve o'clock rack, we're gonna rock around the lock tonight F F Verse 1 Put your glad rags on and join me, hon, We'll F hhave some fian when the clock strikes one, We're gorma B rock around the clock tonight, We're gonna F rock, rock, rock till broad daylight, We're gonna c F rock, gonna rock ‘around the clock tonightVerse 2 When the clock strikes two, three and four Ifthe band slows down, we'll yell for more We're gonna rock around the clock tonight etc. Verse 3 When the chimes ring five, six and seven, We'll be rockin’ up in seventh heav'n We're gonna rock around the clock tonight etc. Verse 4 When it’s eight, nine, ten, eleven too 1 be goin’ strong and so will you, We're gonna rock around the clock tonight etc... Verse 5 When the clock strikes twelve, we'll cool off, then Start a’rockin’ ‘round the clock again, We're gonna rock around the clock tonight etc. BAR 1) 2) 3) 4) 5) 6) 7) 8) 9) 0) Nn) 2 cHorD FF F BF c F NAME ROMAN | NAME BEGINNING THE 12 BAR BLUES ‘The use of chords in a set order in a song is called a chord progression. This particular chord progression is called the 12 bar blues progression, and is very common in rock ‘ny roll songs. ‘You are now going to learn to play a 12 bar blues. You can use any non-transposing instruments you like from keyboards to xylophones. Learn each line as follows: Lead5S Bass (Watch out for bass clef. Ask your teacher for help if you have not used it before.) Now decide which members of the class will play each line and try playing all three lines together as a group. Try to learn your part from memory. Can you hear where the chord change occurs? WALKING BASS, LEAD AND RHYTHM. The bass line is rather dull. In rock ‘n’ roll a bass pattern called ‘walking bass’ is used, ‘whereby the bass player goes up and down the notes of the triad in bass clef. Learn the new bass line below from memory, and now play the lead and rhythm lines over the new bass line. Notice that to fit, the bass line uses one note not in the primary triad. Walking bassChuck Berry lead and rhythm ‘Now your 12 bar blues should be sounding more interesting. Look at the new patterns below for the lead and rhythm lines: Lead Perreeereeee: cetteete, petterce. Rhythm J-12 eennpnen aEeTEEE East SDs ess ESTs oD Se ce oa ge Soa eeear aE SrSOSSTI ES SOaErE ‘These patterns were often used by the singer/guitarist Chuck Berry. Learn the patterns from memory and try them over your walking bass. SWING OR STRAIGHT So far, you have played your progression with ‘straight’ quavers—each note has been of equal length. Now try playing in a swing feel. (Play the quavers in the lead and rhythm lines like this, but don’t change your walking bass.) The ‘straight’ quavers give a true rock feel, and the dotted quavers give a jazz swing feel. Which do you think sounds better? Swing p Straight Jem