The 12 bar blues form (most basic) is illustrated here: Let's Have Some Fun With The 12 Bar Blues!

The basic 12 bar blues form consists of: 4 measures of the I7 Chord (in this case C7) 2 measures of the IV7 chord (in this case F7) 2 measures of the I7 chord again 1 measure of the V7 chord (in this case G7) 1 measure of the IV7 chord again 2 measures of the I7 chord again Important note: in the final measure, the V7 (G7) is played instead of the I7 (C7) because it turns around nicely back to the C7, and you won't have the monotony of the C7 being played 6 measures in a row. We are playing the Blues in the key of C here, but whatever key you would like to use, just remember the I IV V of the key you are in. Using the major scale will get you the correct chords if your roots (names of the chords) are the first degree of the scale, the fourth degree, and the fifth degree. Example: C Major scale: C D E F G A B C I is C IV is F V is G It is very common to use Roman numerals to designate degrees of a scale as we are doing here - something you should consider getting used to. As we continue, it is understood that you already have a grip on dominant seventh chords - at least the three we will be using here... C7, F7, and G7. A terrific program that puts you in touch with ten types of 7th chords and how to play them in a very easy step-by-step fashion is The

Ridiculously Easy Way To Master Those 7th Chords On The Piano (link is here). You will learn the four 7th chord types most often used, including Major 7ths, Minor 7ths, Dominant 7ths, and Diminished 7ths, as well as 6 more types of 7th chords (very easy to follow). Okay, in blues and jazz, it is quite common to "economize" when playing chords. In other words, often, we do not play the entire chord in its original form. What we will do in this lesson is use only the 3rd and 7th of each dominant seventh chord. Let's take a look at each 7th chord in the C Blues. The following illustrations make it clear which notes are the 3 and 7 of the chord. Notice that we are not playing the "root" or name of the chord - this is where the term rootless voicing comes into play. A voicing is simply an arrangement of chord tones that results from taking out a note or more, adding a note a more, or a combination of the two. Note: the dominant seventh chord includes a major triad plus the b7 (flat 7) from the major scale. However, we don't always have to say "flat 7" or "b7" when speaking of the 7th, because once you know a chord and how to play it, referring to the "3" or "7" implies the b7 if it is called for.

Now that you know which notes you'll be playing in the left hand, I have included them as they would appear in standard bass clef notation for your reference... As explained in the video below, we want all the notes we play in the left hand to be close to each other... for one, it's good voice leading and sounds better, and two, it's more practical for hand and finger movement.

I'd like you to get used to playing these guide tones in your left hand with a steady tempo throughout the 12 bar blues form. Have fun with it and play it several times. You can simply use the ring finger and thumb (4 and 1) or middle finger and thumb (3 and 1) for each set; you can also use the 3 and 1 for the C7 and then move the 3 to the 4 when going to the Eb for the F7. You'll decide which is easier for you. In the first example in the video, I am simply playing these guide tones in time throughout the entire 12 bar blues form. Once you are feeling comfortable with playing in time (remember, slow is fine - just steady), have some fun incorporating some notes from the blues scale An important point I am trying to get across in the latter part of this video is that the C blues scale sounds great over each of the dominant seventh chords you are playing. In other words, you don't need to play an F blues scale over the F7 and a G blues scale over the G7. Rather, it is "tastier" if you don't. Experiment by doing a couple of things: * Hold down each chord (or rootless voicing) and play the entire C blues scale over each and listen to the different effects you get. * Hold down each chord (or rootless voicing) and play two or three note combinations extracted from the C blues scale as I do in the video. Listen to the different levels of "tension" that result from playing certain notes over certain chords... and listen for a sense of "release" from this tension when playing other notes. Have a ball with this! I hope you're curious enough to do this for hours! Also, experiment with playing these right hand combinations over the voicings in the left hand while playing through the 12 bar blues form in time. Keep it slow and steady. Listen... play... smile... listen some more... play... keep smiling... (In the video, middle C is marked with a little pink square) Click here for video demonstration If you get a fraction of the enjoyment I get from putting these tutorials together for you, then I've served my purpose! I love this topic! We'll do more... have tons of fun with the 12 bar blues! And remember... Always... ALWAYS...