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12 bar blues

#2
umm...

12 bar is a pretty basic progression, it goes (each roman numeral represents a bar, hence "12 bar blues"):

I I I I
IV IV I I
V IV I I

They're usually 7 chords, but not always. Sometimes they're minor, and there are often variations, but that's it.

Example, 12 bar in the key of G would be:

G - G - G - G
C - C - G - G
D - C - G - G
 
#6
Slow blues ie texas flood - redhouse w/ quick IV

I | IV | I | I
IV| IV | I | I
V| IV |I-IV | I-V


This is my favorite 12 bar.

Build up and up...then on the 2nd beat of the first bar drop the hammer (or a giant snare hit). Gets them every time.

Freddie King is just about as goods as it gets with slow blues. Go pick up the DVD "Live at the Sugar Bowl" from 1972.
 
#10
Also, you probably want learn how to play what some people call a turn around... it lets the listener know that the 12 bars are going to start over... I guess that doesn't matter though... I don't even know if it matters just try to be creative.

But if you are interested for example... If you were playing a blues in F

for the last 2 measures you could play G Db D Ab G C# C F# F.... then start the 12 bars all over again. That is basic as you could possibly be though.
 
#13
12 Bar Blues in E(swing feel)
G---------------------------------------------------------------------------------------------
D---------------------------------------2-4-5-4-2------------------------4-6-----2-4---------
A-----2-4-5-4-2-------2-4-5-4-2---0-4------------4-----2-4-5-4-2---2-6-----0-4-----222-256
E-0-4-----------4-0-4------------4------------------0-4------------4-------------------------
 
#14
Get some Blues CD's and listen till you hear the changes and feel them in your gut.

Learning to feel 4 bar and 8 bar phrases will help you no matter what music you play later. Get to where you can hear and tell a I chord from a IV or a V. You need to internalize feeling time otherwise how are you going to setup chord changes and not just rubber stamp a pattern over all the chords. Listen, listen, listen!
 
#15
thecapm said:
12 Bar Blues in E(swing feel)
G---------------------------------------------------------------------------------------------
D---------------------------------------2-4-5-4-2------------------------4-6-----2-4---------
A-----2-4-5-4-2-------2-4-5-4-2---0-4------------4-----2-4-5-4-2---2-6-----0-4-----222-256
E-0-4-----------4-0-4------------4------------------0-4------------4-------------------------
Click to expand...

That's one way to play over a blues. The possibilities are pretty infinite depending on what kind of music you're playing (this progression is also very popular in jazz), any variations on the chords, any extensions/alterations/substitutions of the chords. I could go on
 
#16
warnergt said:
Can you explain the "I-IV" and "I-V"?
Do you transition between the two chords?
Do you alternate between the two chords?
Click to expand...

What he charted out is called a Fast Change Blues. It's called Fast Change because of the movement of I to IV and back in the beginning. Not all Blues use the Fast Change.

The "I-IV" and "I-V" means there are two chord in that measure. So two beats of the I and two beats of the IV. Same type thing with the I-V. That is a pretty common turnaround in a Blues.

Fast Change and turnarounds like this are things your have to learn to listen for and respond to quickly. Blues gigs and jams don't use charts they call tune and start counting. A lot of time they will just say "Fast Change in A", "Shuffle in G" or "Slow Blues in Bb". The rest you are expected to be able to hear and follow. If they are playing a Blues that has a specific riff or chord progression then they will usually call it by name. Like Stormy Monday has turnaround different than a lot of tunes. In fact you might hear guys describe a tune as having a "Stormy Monday turnaround". Born Under A Bad Sign is a example of a riff you need to know to play the song.

If playing real Blues the biggest mistake most rookies make is not listening and watching the singer or soloist for cues. Rookies don't listen and play bass lines with b7's and tune is just straight major chord. They also tend to not listen to the guitars and play a busy line and are stepping all over the guitarists. Last playing real Blues is very dynamic music you have to be alert. Singers and soloists will be changing volumes, adding breaks, changing tempo or beat. You have to catch that or look dumb. Bass is expect to just lay it down keep the bottom and hold the time. You lock into the drummer and can follow some of their big fills. Then they might turn around and give you a solo without warning. Usually mean the night is over so give the bass player a minute in the spot light. :D

Blues is a great teacher.
 
#17
thecapm said:
12 Bar Blues in E(swing feel)
G---------------------------------------------------------------------------------------------
D---------------------------------------2-4-5-4-2------------------------4-6-----2-4---------
A-----2-4-5-4-2-------2-4-5-4-2---0-4------------4-----2-4-5-4-2---2-6-----0-4-----222-256
E-0-4-----------4-0-4------------4------------------0-4------------4-------------------------
Click to expand...

I know I'm about a year and a half late in resurrecting this, but I was searching for an answer to making a bass line for a 12 bar blues, specifically I Hear You Knocking (Dave Edmunds). It's in E. I played just a rhythmic E & A but I'm not sure that was the most creative way to do the bass line. I know someone has an idea. ;)
 
#18

The blues is a great teaching tool because most just take that 12 bar progression and follow it - thus the chord changes are easy to hear and follow, but, feel free to add your own "stuff".

IMO the "standard" 12 bar blues progression is a great bare bones starting point for a first draft on just about any tune, well, with what I play anyway.
 

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