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The Blues Piano Cheat Sheet: Standard 12 Bar Blues Form C7 F7 C7

The document provides information on blues piano forms, left hand patterns, walking basslines, scales, soloing techniques, and licks. It includes notation for the standard 12 bar blues form, jazz 12 bar blues form, C7 and F7 left hand patterns, two walking basslines, the C blues scale and C major blues scale, techniques like octaves, drone notes, and glissandos, as well as various licks and runs.

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148 views

The Blues Piano Cheat Sheet: Standard 12 Bar Blues Form C7 F7 C7

The document provides information on blues piano forms, left hand patterns, walking basslines, scales, soloing techniques, and licks. It includes notation for the standard 12 bar blues form, jazz 12 bar blues form, C7 and F7 left hand patterns, two walking basslines, the C blues scale and C major blues scale, techniques like octaves, drone notes, and glissandos, as well as various licks and runs.

Uploaded by

shanewilks
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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The

Blues Piano Cheat Sheet


Form

     
Standard 12 Bar Blues Form

           
C7 F7 C7

                
5 F7 C7

                 
9 G7 F7 C7 ( G7 )

Jazz 12 Bar Blues Form

                
C7 F7 C7

                
5 F7 F♯ο7 C7 A7

                 
9 Dm7 G7 C7 ( A7 D7 G7 )

                                       
Left Hand Patterns
C7

                                       

5

 
                                


9

     
3


              
     
13

    
2 Walking Basslines


Walking Bassline #1

           
C7 F7 C7

   

      
      
F7 F♯ο7 C7


5

 


        
Dm7 G7 C7 A7 Dm7 G7

   
9

  


Walking Bassline #2

  
      
    
C7 F7 C7



   
F7 F♯ο7 C7 A7

      
5

     
 

      
Dm7 G7 C7 A7 D7 G7

   
9

    
Scales

      
 
C Blues Scale C Major Blues Scale

     

     
Soloing Techniques


       
          
Octaves Drone Notes

   

       gliss.
  
Glissando

 
3 Tremolo

  
              
      
Chromatic Run


        
5 Crushed Notes

  
3 3
3 3

            
                
Harmonising with 3rd & 6ths Quick Runs 3
7


   
                 
Licks 3

           
        
Crossover Licks

     3

         
3 3


3

                       
  
5 3

            


   
          
 
  
    
Other Licks


      
9
3 3

  
    
   
                  
         
3


14

 
        3
    
3 3

            
          

 
17 3 3

    
3


3 3 3
Turnarounds

       
     
C7 A♭9 G9

    


   
   


             
      
C A♭9 G9


3 3 3 3


     
   


    


  

      

5 A♭9 G9

    
   
   

           
4

                                  


Example Solo


3 3 3

      
 
C7 F7 C7

      


     
   
                             
6 3

 

3 3

       
    
F7 F♯ο7 C7 A7


 

                    


                     
      
10 3 3 3

    
 

3

      
Dm7 G7 C7 G7

          


     
          
                                      

14 3

   F7
              
3 3
C7 3


C7 3


3


                
                        
18



     
F7 F♯ο7 C7 A7


     
    
      3
 
                     
             
22
3 3

3  

3

    
Dm7 G7 C7 D♭7 C7

        

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