# Twelve-bar blues

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Prominent chord progression in popular music

For the Scott Weiland album, see [*12 Bar Blues* (album)](/source/12_Bar_Blues_(album)). For the Patrick Neate novel, see [*Twelve Bar Blues* (novel)](/source/Twelve_Bar_Blues_(novel)).

Typical boogie woogie bassline on twelve-bar blues progression in C, chord roots in red Twelve bar boogie-woogie blues in C Problems playing this file? See media help.

The **twelve-bar blues** (or **blues changes**) is one of the most prominent [chord progressions](/source/Chord_progression) in [popular music](/source/Popular_music). The [blues](/source/Blues) progression has a distinctive form in [lyrics](/source/Lyrics), [phrase](/source/Phrase_(music)), [chord](/source/Chord_(music)) structure, and [duration](/source/Duration_(music)). In its basic form, it is predominantly based on the [I](/source/Tonic_(music)), [IV](/source/Subdominant), and [V](/source/Dominant_(music)) chords of a key.

## Background

The blues originated from a combination of work songs, spirituals, and early southern country music.[1] The music was passed down through oral tradition. It was first written down by [W. C. Handy](/source/W._C._Handy), an [African American](/source/African_Americans) composer and band leader. Its popularity led to the creation of "[race records](/source/Race_record)" and the popularity of blues singers like [Bessie Smith](/source/Bessie_Smith) and [Ma Rainey](/source/Ma_Rainey).[2] The style of music heard on race records was later called "[rhythm and blues](/source/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.[1]

## Basic progression

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](/source/Turnaround_(music)), or seventh chords. For variations, see the following section.

- Chord notation in the [key of C](/source/C_major):[3]

- C C C C F F C C G F C G

- Functional notation – chords are represented by **T** to indicate the [tonic](/source/Tonic_(music)), **S** for the [subdominant](/source/Subdominant), and **D** for the [dominant](/source/Dominant_(music)):[4]

- T T T T S S T T D S T D

- [Roman numeral notation](/source/Roman_numeral_analysis) – **I** represents the tonic, **IV** the sub-dominant, and **V** the dominant:[4]

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

## Variations

### Shuffle blues

In the original form, the dominant chord was repeated on the twelfth bar; later on, the V–IV–I–I "shuffle blues" pattern became standard in the third set of four bars:[5]

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

[Twelve bar boogie-woogie blues in C](https://en.wikipedia.org/wiki/File:Twelve_bar_boogie-woogie_blues_in_C.mid)

### Quick to four

The common quick-change, quick to four, or quick four variation uses the subdominant or IV chord in the second bar.[6]

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

### Seventh chords

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.[7] 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

### Bebop blues

This progression is similar to [Charlie Parker](/source/Charlie_Parker)'s "[Now's the Time](/source/Now's_the_Time_(composition))", "[Billie's Bounce](/source/Billie's_Bounce)", [Sonny Rollins](/source/Sonny_Rollins)'s "[Tenor Madness](/source/Tenor_Madness)", and many other [bop](/source/Bebop) tunes.[8] Peter Spitzer describes it as "a bop [soloist's](/source/Solo_(music)) cliche to [arpeggiate](/source/Arpeggio) this chord [A7♭9 ([V/ii](/source/Secondary_dominant) = VI7♭9)] from the [3](/source/Third_(chord)) up to the ♭[9](/source/Ninth_(interval))."[8]

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

[Bebop blues progression](https://en.wikipedia.org/wiki/File:Bebop_blues_progression.mid)

### Minor blues

There are also minor twelve-bar blues, such as [John Coltrane](/source/John_Coltrane)'s "[Equinox](/source/Equinox_(standard))" and "[Mr. P.C.](/source/Mr._P.C.)".[9] The chord on the fifth [scale degree](/source/Degree_(music)) may be major (V7) or minor (v7).[9] Major and minor can also be mixed together, a signature characteristic of the music of [Charles Brown](/source/Charles_Brown_(musician)).[10]

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

[Minor blues progression](https://en.wikipedia.org/wiki/File:Minor_blues_progression.mid)

### Other variations

"[W. C. Handy](/source/W._C._Handy) codified this blues form to help musicians communicate chord changes."[11] Many variations are possible. The length of sections may be varied to create [eight-bar blues](/source/Eight-bar_blues) or [sixteen-bar blues](/source/Sixteen-bar_blues).

Standard twelve-bar blues progressions variations, in key of C.[12] [Play A](https://upload.wikimedia.org/wikipedia/commons/transcoded/6/68/Standard_12-bar_blues_progression_variations_A.mid/Standard_12-bar_blues_progression_variations_A.mid.mp3)[ⓘ](https://en.wikipedia.org/wiki/File:Standard_12-bar_blues_progression_variations_A.mid), B, [C](https://upload.wikimedia.org/wikipedia/commons/transcoded/d/d5/Standard_12-bar_blues_progression_variations_C.mid/Standard_12-bar_blues_progression_variations_C.mid.mp3)[ⓘ](https://en.wikipedia.org/wiki/File:Standard_12-bar_blues_progression_variations_C.mid), [D](https://upload.wikimedia.org/wikipedia/commons/transcoded/b/b6/Standard_12-bar_blues_progression_variations_D.mid/Standard_12-bar_blues_progression_variations_D.mid.mp3)[ⓘ](https://en.wikipedia.org/wiki/File:Standard_12-bar_blues_progression_variations_D.mid), and [E](https://upload.wikimedia.org/wikipedia/commons/transcoded/2/2c/Standard_12-bar_blues_progression_variations_E.mid/Standard_12-bar_blues_progression_variations_E.mid.mp3)[ⓘ](https://en.wikipedia.org/wiki/File:Standard_12-bar_blues_progression_variations_E.mid) as boogie woogie basslines.

## Melodic line

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.[13] This pattern is frequently used in the blues and in musical genres that have their roots in the blues.[14]

## See also

- [Eight-bar blues](/source/Eight-bar_blues)

- [Sixteen-bar blues](/source/Sixteen-bar_blues)

- [Bird changes](/source/Bird_changes)

## References

1. ^ [***a***](#cite_ref-FOOTNOTEGridley2000_1-0) [***b***](#cite_ref-FOOTNOTEGridley2000_1-1) [Gridley 2000](#CITEREFGridley2000).

1. **[^](#cite_ref-2)** ["What Is the Blues?"](https://www.pbs.org/theblues/classroom/essaysblues.html). *[Pbs.org](/source/Pbs.org)*. 2003. Retrieved October 12, 2021.

1. **[^](#cite_ref-FOOTNOTEBenwardSaker2003186_3-0)** [Benward & Saker 2003](#CITEREFBenwardSaker2003), p. 186.

1. ^ [***a***](#cite_ref-FOOTNOTEKernfeld2007_4-0) [***b***](#cite_ref-FOOTNOTEKernfeld2007_4-1) [Kernfeld 2007](#CITEREFKernfeld2007).

1. **[^](#cite_ref-FOOTNOTEGerowTanner198437_5-0)** [Gerow & Tanner 1984](#CITEREFGerowTanner1984), p. 37: cited in Baker 2004: "This alteration [V–IV–I rather than V–V–I] is now considered standard."

1. **[^](#cite_ref-FOOTNOTEMcCumber200625_6-0)** [McCumber 2006](#CITEREFMcCumber2006), p. 25.

1. **[^](#cite_ref-7)** Mount, Andre. ["Seventh Chords"](https://milnepublishing.geneseo.edu/fundamentals-function-form/chapter/18-seventh-chords/). *Milnepublishingonline*. Retrieved November 29, 2021.

1. ^ [***a***](#cite_ref-FOOTNOTESpitzer200162_8-0) [***b***](#cite_ref-FOOTNOTESpitzer200162_8-1) [Spitzer 2001](#CITEREFSpitzer2001), p. 62.

1. ^ [***a***](#cite_ref-FOOTNOTESpitzer200163_9-0) [***b***](#cite_ref-FOOTNOTESpitzer200163_9-1) [Spitzer 2001](#CITEREFSpitzer2001), p. 63.

1. **[^](#cite_ref-FOOTNOTEdi_Perna1991180,_80_10-0)** [di Perna 1991](#CITEREFdi_Perna1991), pp. 180, 80: "Brown alternates between an Fmin7 and a B7. Minor to major, just like the man says."

1. **[^](#cite_ref-FOOTNOTEJackson200218_11-0)** [Jackson 2002](#CITEREFJackson2002), p. 18.

1. **[^](#cite_ref-FOOTNOTEBenwardSaker2003_12-0)** [Benward & Saker 2003](#CITEREFBenwardSaker2003).

1. **[^](#cite_ref-FOOTNOTESpitzer2001_13-0)** [Spitzer 2001](#CITEREFSpitzer2001).

1. **[^](#cite_ref-14)** Farrant, Dan (9 September 2020). ["12-Bar Blues Form: A Complete Guide"](https://hellomusictheory.com/learn/12-bar-blues-form/). *Hellomusictheory.com*. Retrieved October 12, 2021.

## Sources

- Benward, Bruce; Saker, Marilyn Nadine (2003). *Music: In Theory and Practice, Vol. I* (7th ed.). [McGraw-Hill](/source/McGraw-Hill). [ISBN](/source/ISBN_(identifier)) [978-0-07-294262-0](https://en.wikipedia.org/wiki/Special:BookSources/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](/source/Oxford_University_Press). [ISBN](/source/ISBN_(identifier)) [0-19-517010-5](https://en.wikipedia.org/wiki/Special:BookSources/0-19-517010-5).

- di Perna, Alan (1991). "Jazzin' the Blues with Charles Brown". *Musician, issues 147–152*. Amordian Press.

- Gerow, Maurice; [Tanner, Paul](/source/Paul_Tanner) (1984). *A Study of Jazz*. William C. Brown. [ISBN](/source/ISBN_(identifier)) [978-0-07-294262-0](https://en.wikipedia.org/wiki/Special:BookSources/978-0-07-294262-0). Cited in Baker, Robert M. (2005)

- Gridley, Mark C. (2000). *Jazz Styles: Jazz Classics Compact Disc*. Sony Music. [ISBN](/source/ISBN_(identifier)) [0-13-012693-4](https://en.wikipedia.org/wiki/Special:BookSources/0-13-012693-4).

- [Jackson, Fruteland](/source/Fruteland_Jackson) (2002). *Beginning Delta Blues Guitar*. [Alfred Publishing](/source/Alfred_Publishing). [ISBN](/source/ISBN_(identifier)) [978-0-7390-3006-6](https://en.wikipedia.org/wiki/Special:BookSources/978-0-7390-3006-6).

- Kernfeld, Barry, ed. (2007). "Blues progression". *The New Grove Dictionary of Jazz*. Vol. 2. [Oxford University Press](/source/Oxford_University_Press).

- McCumber, Dennis (2006). [*The Total Blues Guitarist*](https://books.google.com/books?id=qR51tzDMtPQC&pg=PA25). Alfred Publishing. [ISBN](/source/ISBN_(identifier)) [9780739038499](https://en.wikipedia.org/wiki/Special:BookSources/9780739038499).

- [Middleton, Richard](/source/Richard_Middleton_(musicologist)) (1990). *Studying Popular Music*. [Open University Press](/source/Open_University_Press). [ISBN](/source/ISBN_(identifier)) [0-335-15275-9](https://en.wikipedia.org/wiki/Special:BookSources/0-335-15275-9).

- Spitzer, Peter (2001). *Jazz Theory Handbook*. [Mel Bay](/source/Mel_Bay). [ISBN](/source/ISBN_(identifier)) [978-0-7866-5328-7](https://en.wikipedia.org/wiki/Special:BookSources/978-0-7866-5328-7).

- Thomas, John (2002). *Voice Leading for Guitar: Moving Through the Changes*. [Berklee Press](/source/Berklee_Press). [ISBN](/source/ISBN_(identifier)) [0-634-01655-5](https://en.wikipedia.org/wiki/Special:BookSources/0-634-01655-5).

- [van der Merwe, Peter](/source/Peter_van_der_Merwe_(musicologist)) (1989). *Origins of the Popular Style*. [Clarendon Press](/source/Clarendon_Press). [ISBN](/source/ISBN_(identifier)) [0-19-316121-4](https://en.wikipedia.org/wiki/Special:BookSources/0-19-316121-4). Cited in Middleton (1990)

v t e Blues Musical form Blue note Blues ballad Blues scale Call and response Eight-bar blues Musical improvisation Shuffles Traditional blues verses Twelve-bar blues Walking bass Origins Origins Field hollers Spirituals Work songs American folk music Regional styles Africa Desert blues Canada Chicago Delta Hill country Louisiana New Orleans Swamp Memphis New Zealand Piedmont Texas Turkey United Kingdom West Coast Subgenres Boogie-woogie Classic female Country Delta Hill country Dirty Electric Fife and drum Hokum Holler Jug band Skiffle Fusion genres Blues rock Biker metal Boogie rock Punk Roots rock Southern rock Gospel Jump Rhythm and blues Soul Lists Blues musicians Blues musicians by genre Blues standards Blues festivals

v t e Chord progressions Terminology Bridge Cadence Plagal Changes Constant structure Double tonic Notation (Roman-numeral) Rewrite rules Turnaround By number of chords Three I–IV–V–I ii–V–I turnaround V–IV–I turnaround ♭VII–V7 cadence Backdoor progression Eight-bar blues Twelve-bar blues ("Bird" changes) Sixteen-bar blues Passamezzo moderno Four '50s progression Andalusian cadence Folía vi–ii–V–I Montgomery-Ward bridge Passamezzo antico I–V–vi–IV (list) IV△7–V7–iii7–vi Romanesca Tadd Dameron turnaround By name 50s Andalusian cadence Backdoor "Bird" changes Borrowed (contrafact) Circle Coltrane changes Omnibus Passamezzo antico Passamezzo moderno Ragtime Royal road progression "Rhythm" changes Stomp Tadd-Dameron Montgomery-Ward bridge Related Aeolian harmony Chaconne Ground bass (Pachelbel's Canon) Irregular resolution Galant Schemata List of chord progressions

v t e Jazz theory and improvisation Avoid note Backdoor progression Bar-line shift Bebop scale Bird changes Block chord Blue note Cadenza Call and response Chord-scale system Chordioid Coltrane changes Comping Constant structure Contrafact Electroacoustic improvisation Free improvisation List Groove Harmolodics Harmony Head Jam band Jam session Jazz chord So What Jazz improvisation Lead sheet Melodic pattern Outside Polyrhythm Rhythm changes Scale Swing Syncopation Turnaround ii-V-I Tadd Dameron Twelve-bar blues Upper structure

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Adapted from the Wikipedia article [Twelve-bar blues](https://en.wikipedia.org/wiki/Twelve-bar_blues) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Twelve-bar_blues?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.