12-Bar Blues — Musical Full-Chorus Examples

12-Bar Blues — Musical Full-Chorus Examples

Guitar · 96 BPM · 5 examples

A 12-bar blues is a repeating 12-measure form built mainly from the I7, IV7, and V7 chords.

In E, that means E7, A7, and B7. The examples above break the form into short player-friendly chunks, add an engraved bass line, show the quick-change variation, a minor-blues ending, transpositions to A and G, and isolate bars 11–12 so you can clearly hear the turnaround function.

The core idea is simple: bars 1–4 establish I7, bars 5–8 move to IV7 and back to I7, and bars 9–12 create the tension-and-return section. In the most common ending, bars 11–12 are I7 → V7, which resolves the current chorus while the V7 pulls you straight back into bar 1.

1 — Standard shuffle blues in E

Guitar
A full 12-bar shuffle with moving guitar voicings, boogie bass and backbeat drums. Bars 11–12 are the basic turnaround: E7 settles the chorus, then B7 pulls back to bar 1.
100%
GuitarE A D G B E
Bass
Drums
1 E7 2 E7 0201022102010221 P.M.P.M. 0221020102210201 P.M.P.M. 3 E7 4 E7 020102013  0201022102010221 P.M.P.M. 5 A7 6 A7 0202022202020222 P.M.P.M. 0222020202220202 P.M.P.M. 7 E7 8 E7 020102013  0221020102210201 P.M.P.M. 9 B7 10 A7 2120242421202424 P.M.P.M. 0202022202020222 P.M.P.M. 11 E7 12 B7 020102011  2120242421202424 P.M.P.M.

2 — Quick-change blues in E

Guitar
The IV7 arrives in bar 2, giving the opening more motion while the rest of the 12-bar form stays familiar. The guitar leaves more space around that early change while bass and drums keep the shuffle moving.
100%
GuitarE A D G B E
Bass
Drums
1 E7 2 A7 0201022102010221 P.M.P.M. 0202022202020222 P.M.P.M. 3 E7 4 E7 0221020102210201 P.M.P.M. 020102013  5 A7 6 A7 0202022202020222 P.M.P.M. 0222020202220202 P.M.P.M. 7 E7 8 E7 0201022102010221 P.M.P.M. 020102011  9 B7 10 A7 2120242421202424 P.M.P.M. 0202022202020222 P.M.P.M. 11 E7 12 B7 0221020102210201 P.M.P.M. 2120242421202424 P.M.P.M.

3 — 12-bar blues with #IVdim7 and VI7

Guitar
This richer variant uses D#dim7 as a passing chord and F#7 to set up Bm7–E7. It adds harmonic movement while preserving the 12-bar architecture and a clear final turnaround.
100%
GuitarE A D G B E
Bass
Drums
1 A7 2 D7 5655565556555655 P.M.P.M. 7575757575757575 P.M.P.M. 3 A7 4 A7 5655565556555655 P.M.P.M. 565556558  5 D7 6 D#dim7 7575757575757575 P.M.P.M. 1212121212121212 P.M.P.M. 7 A7 5655565556555655 P.M.P.M. 8 F#7 4322432243224322 P.M.P.M. 9 Bm7 10 E7 2423242324232423 P.M.P.M. 7675767576757675 P.M.P.M. 11 A7 12 E7 5655565556555655 P.M.P.M. 7675767576757675 P.M.P.M.

4 — Jazz blues in F

Guitar
A jazz-blues chorus adds Bb7 in bar 2, Bdim7 in bar 6 and D7–Gm7–C7 motion in bars 8–10. Compact guitar punches sit over a walking bass and swing-style drum backing.
100%
GuitarE A D G B E
Bass
Drums
1 F7 2 Bb7 8786878687868786 P.M.P.M. 1313131313131313 P.M.P.M. 3 F7 4 F7 8786878687868786 P.M.P.M. 8786878687868786 P.M.P.M. 5 Bb7 6 Bdim7 1313131313131313 P.M.P.M. 2313231323132313 P.M.P.M. 7 F7 8 D7 8786878687868786 P.M.P.M. 5453545354535453 P.M.P.M. 9 Gm7 10 C7 3333333333333333 P.M.P.M. 3231323132313231 P.M.P.M. 11 F7 12 C7 8786878687868786 P.M.P.M. 3231323132313231 P.M.P.M.

5 — Minor 12-bar blues in E

Guitar
The minor version is rhythmically locked: guitar hits on beats 1 and 3, bass walks quarter notes, and drums reinforce the same pulse. The bass clearly outlines Em7 and Am7, while C7–B7–Em7–B7 creates the final minor-blues cadence and turnaround.
100%
GuitarE A D G B E
Bass
Drums
1 Em7 2 Em7 02002030 20300200 3 Em7 4 Em7 02002030 20300200 5 Am7 6 Am7 02012010 20100201 7 Em7 8 Em7 02002030 20300200 9 C7 10 B7 32312310 21201202 11 Em7 12 B7 02002030 21201202

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