Thetwelve-bar blues (orblues changes) is one of the most prominentchord progressions inpopular music. Theblues progression has a distinctive form inlyrics,phrase,chord structure, andduration. In its basic form, it is predominantly based on theI,IV, andV chords of a key. Mastery of the blues andrhythm changes are "critical elements for building ajazz repertoire".^[1]

The blues originated from a combination of work songs, spirituals, and early southern country music.^[2] The music was passed down through oral tradition. It was first written down byW. C. Handy, anAfrican American composer and band leader. Its popularity led to the creation of "race records" and the popularity of blues singers likeBessie Smith andMa Rainey.^[3] The style of music heard on race records was later called "rhythm and blues" (R & B). As the music became more popular, more people wanted to perform it. General patterns that existed in the blues were formalized, one of these being the 12-bar blues.^[2]

The basic progression for a 12-bar blues may be represented in several ways. It is shown in its simplest form, without the common "quick change",turnarounds, or seventh chords. For variations, see the following section.

• Chord notation in thekey of C:^[4]

C	C	C	C
F	F	C	C
G	F	C	G

• Functional notation – chords are represented byT to indicate thetonic,S for thesubdominant, andD for thedominant:^[5]

T	T	T	T
S	S	T	T
D	S	T	D

• Roman numeral notation – I represents the tonic,IV the sub-dominant, andV the dominant:^[5]

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

In the original form, the dominant chord continued through the tenth bar; later on, the V–IV–I–I "shuffle blues" pattern became standard in the third set of four bars:^[6]

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

Twelve bar boogie-woogie blues in C

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The common quick-change, quick to four, or quick four variation uses the subdominant or IV chord in the second bar.^[7]

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

Seventh chords are a type of chord that includes the 7th scale degree (that is, the 7th note of the scale). There are different types of 7th chords such as major 7ths, dominant 7ths, minor 7ths, half diminished 7ths, and fully diminished 7ths.^[8] These chords are similar with slight changes, but are all centered around the same key center. Dominant 7th chords are generally used throughout a blues progression. The addition of dominant 7th chords as well as the inclusion of other types of 7th chords (i.e. minor and diminished 7ths) are often used just before a change, and more changes can be added. A more complicated example might look like this, where "7" indicates a seventh chord:

I	IV	I	I7
IV	IV7	I	I7
V	IV	I	V7

This progression is similar toCharlie Parker's "Now's the Time", "Billie's Bounce",Sonny Rollins's "Tenor Madness", and many otherbop tunes.^[9] Peter Spitzer describes it as "a bopsoloist's cliche toarpeggiate this chord [A^7♭9 (V/ii = VI^7♭9)] from the3 up to the♭9."^[9]

I7	IV7	I7	V7 I7
IV7	♯IVo7	I7	V/ii♭9
ii7	V7	I7 V/ii♭9	ii7 V7

Bebop blues progression

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There are also minor twelve-bar blues, such asJohn Coltrane's "Equinox" and "Mr. P.C.".^[10] The chord on the fifthscale degree may be major (V⁷) or minor (v⁷).^[10] Major and minor can also be mixed together, a signature characteristic of the music ofCharles Brown.^[11]

i7	i7	i7	i7
iv7	iv7	i7	i7
♭VI7	V7	i7	i7

Minor blues progression

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"W. C. Handy codified this blues form to help musicians communicate chord changes."^[12] Many variations are possible. The length of sections may be varied to createeight-bar blues orsixteen-bar blues.

As the chords of a 12-bar blues follow a form, so does the melodic line. The melodic line might just be the melody of the piece or it might also include lyrics. The melody and lyrics frequently follow an AA'B form, meaning one phrase is played then repeated (perhaps with a slight alteration), then something new is played.^[14] This pattern is frequently used in the blues and in musical genres that have their roots in the blues.^[15]

• Eight-bar blues
• Sixteen-bar blues
• Bird changes

• Benward, Bruce; Saker, Marilyn Nadine (2003).Music: In Theory and Practice, Vol. I (7th ed.).McGraw-Hill.ISBN 978-0-07-294262-0.
• Covach, John (2005). "Form in Rock Music: A Primer". In Stein, Deborah (ed.).Engaging Music: Essays in Music Analysis.Oxford University Press.ISBN 0-19-517010-5.
• di Perna, Alan (1991). "Jazzin' the Blues with Charles Brown".Musician, issues 147–152. Amordian Press.
• Gerow, Maurice;Tanner, Paul (1984).A Study of Jazz. William C. Brown.ISBN 978-0-07-294262-0.Cited in Baker, Robert M. (2005)
• Gridley, Mark C. (2000).Jazz Styles: Jazz Classics Compact Disc. Sony Music.ISBN 0-13-012693-4.
• Jackson, Fruteland (2002).Beginning Delta Blues Guitar.Alfred Publishing.ISBN 978-0-7390-3006-6.
• Kernfeld, Barry, ed. (2007). "Blues progression".The New Grove Dictionary of Jazz. Vol. 2.Oxford University Press.
• McCumber, Dennis (2006).The Total Blues Guitarist. Alfred Publishing.ISBN 9780739038499.
• Middleton, Richard (1990).Studying Popular Music.Open University Press.ISBN 0-335-15275-9.
• Spitzer, Peter (2001).Jazz Theory Handbook.Mel Bay.ISBN 978-0-7866-5328-7.
• Thomas, John (2002).Voice Leading for Guitar: Moving Through the Changes.Berklee Press.ISBN 0-634-01655-5.
• van der Merwe, Peter (1989).Origins of the Popular Style.Clarendon Press.ISBN 0-19-316121-4.Cited in Middleton (1990)

• Chord progressions
• Song forms
• Jazz genres
• Blues music genres
• American styles of music
• Jazz terminology
• 12 (number)

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