12 Bar Blues Bible

The 12 Bar Blues Bible

for Piano/KeyboardsBy Andrew D. Gordon

Styles include:

Blues, Boogie-Woogie, Rock, Gospel

Funky-Blues, Jazz-Blues

Published & Distributed exclusively by A.D.G. Productions15517 Cordary Ave., Lawndale CA 90260

web site address http://www.adgproductions.come mail [email protected]

copyright 1997, 2003 A.D.G. Productions

No part of this book may be reproduced or transmitted in any form, electronic ormechanical, without permission in writing from the copyright holder.

Printed in Canada

isbn 1-882146-58-1

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CONTENTS Riff No.

Style

Page

Riff No.

Style

Page

1

Boogie Woogie

9

27

Latin Blues

37

2 Slow Blues 10 28 Jazz Blues 38

3 Funky Blues 11 29 Funky Blues 39

4 Boogie Woogie 12 30 BoogieWoogie 40

5 Boogie Woogie 13 31 Rock Blues 41

6 Mid Tempo Blues 14 32 Minor Blues 42

7 Rock Blues 15 33 Funky Blues 43

8 Boogie Woogie 16 34 Funky Blues 44

9 Rock/Gospel 17 35 Minor Blues 45

10 Rock Blues 18 36 Boogie Woogie 46

11 Rock Blues 19 37 Funky Blues 47


13 Rock Boogie 21 39 Boogie Woogie 49

14 Funky Blues 22 40 Slow Blues 50

15 Mid Tempo Blues 23 41 Country Blues 51

16 Funky Blues 24 42 Country Blues 52

17 Rock Blues 25 43 Slow Blues 53

18 Rock Blues 26 44 Slow Blues 56

19 Funky Blues 27 45 Boogie Woogie 58

20 Latin Blues 28 46 Rock Blues 59

21 Boogie Woogie 29 47 Jazz Blues 60

22 Boogie Woogie 30 48 Gospel Blues 61


24 Gospel 33 50 Hip Hop Blues 63

25 Funky Blues 35 51 Hip Hop Blues 64

26 Boogie Woogie 36

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Preface Thank you for buying this book. Due to the overwhelming demand of my book 100 Ultimate Blues Riffs, I decided to author another book solely on blues piano/keyboard playing. Most Blues tunes are made up of a 12 bar progression and I thought that a book that show the various types and styles of 12 bar blues progressions would be useful to musicians and students. The book includes over 50 examples that cover a range of styles, (blues, jazz-blues, minor-blues, funky-blues, country-blues, rock-blues, latin-blues, gospel-blues), tempos, rhythms and key signatures. There is a brief description, followed by each of the examples perfectly notated, along with the chord symbols. The latter part of the book contains a chapter on the Basics Of Blues Improvisation for anyone who is just starting out in the world of improvising using the Blues as a starting point. The audio CD that comes with the book has all the examples recorded with the piano left hand part on the left channel and the piano right hand part on the right channel along with a drum track in stereo. This format enables you to, by turning the balance control to the left, hear the left hand being played so that you can practice the right hand part along with it and vice versa.

Jam - A - Long Tracks At the end of the CD there are seven jam - along tracks, each about three minutes in length so that you may try out examples in the book or your own improvisational ideas along with a rhythm section of organ, bass & drums.

Notice To Computer and Sequencer Users This program comes with an optional MIDI file disk and loads into your sequencing software by selecting Load MIDI file, please refer to your manual for further instructions. Load in the example you want to listen to or practice. Track 1 is the right hand piano part, Track 2 is the left hand piano part, both on MIDI channel 1,Track 3 is the drum track on MIDI channel 10. The MIDI file disks are formatted for IBM or Macintosh computers as well as General MIDI keyboards and sequencers with disk drives. If you bought this product without the MIDI disk and would like to purchase the MIDI disk separately or have any compatibility questions please contact us at: (310) 379 1568

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A Brief Description Of Each Riff

Riff 1 This uptempo boogie woogie progression in the key of C starts with a pick up by the right hand. The left hand plays a common boogie woogie bass pattern while the right hand plays a repetitive melodic pattern. As with any boogie woogie style bass line make sure the left hand propels the music forward by having steady time. The right hand will then fit in comfortably with the left hand. Riff 2 This slow blues in the key of Eb has a bass line that uses the 1st., 3rd., 5th. & 6th. notes of the scale. This example goes to the Ab7 (IV) chord in the second measure instead of staying on the I chord. I tried to make the melody simple but melodic. Riff 3 This funky blues in the key of Bb uses a common bass line that includes playing notes octaves apart. The right hand plays a rhythmic keyboard style, great to use if you are a keyboardist in a blues band. If the octave stretch in the right hand is a little tough then leave out the bottom note of the chord. Riff 4 This medium tempo boogie woogie piece has a very happy sound to it and I was inspired to write it from the time when I first learnt to play this style back in the late 1960s. The chord progression is not the typical I, IV, V sequence but has a jazzier flavor to it with the use of a II V I progression in measures 2 to 3 and 9 to 11. Once again the left hand has a strong rhythmic accompaniment. Riff 5 This example has a bass line that is a variation on the previous boogie woogie bass lines. Notice the chromatic rundown with the right hand in measures 9 and 10 on the second beat of each of the two measures. This chromatic (half step) rundown is a common device used in both blues & jazz. Riff 6 This repetitive rock blues riff is played by both hands in unison. Once again, the use of octaves are used as part of the riff. This example is often used by guitar players but can be played by keyboard players either by itself or in conjunction with the guitar player. Notice that there are no 3rds., in this example. A lot of guitar based blues & rock leave out the thirds giving the music an ambiguous sound because the chord is neither major or minor. Riff 7 This uptempo rock blues example gets close to rock & roll and has the right hand playing in a rhythmic style along with one measure fills as in measures 4 and 12. The left hand is playing a repetitive straight eighth note pattern. Riff 8 In this medium tempo boogie woogie example, the left and right hands are playing similar patterns with the right hand playing a little more harmonically. The bass riff is the same as in example 5. Notice that both the right & left hands are played in the bass clef.

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Riff 9 This mid tempo rock/gospel blues example has a much different feel than the previous examples. This example is in a minor key (A minor) and the use of octaves in measures 9 & 10 give a distinct gospel sound. Quite often in minor blues progressions the #V chord (F7) is used one measure before the V (E7) chord as the progression descends back to the I (Am) chord. Riff 10 This example uses a Wurlitzer piano sound commonly used in the 1960s and early 1970s before the Fender Rhodes became popular. It has a grittier sound than the Fender Rhodes and Ray Charles was one of the first pianists to incorporate the Wurlitzer piano sound. This example is reminiscent of the mid to late 1960s British pop sound, such as the Beatles, who used a lot of blues influences in their music. Riff 11 This is another example that is more pop orientated than straight ahead blues. I used a Fender Rhodes sound so that you could hear the differences between the Wurlitzer and the Fender Rhodes in this and the previous example. Measures 11 and 12 consists of the right hand playing the blues scale (see section on basic blues improvisation at the back of the book for further information). The pattern is 5 notes long (G, C#, C, Bb & G) so that each note is placed on a different beat of the measure each time it is played giving a subtle off time feel. Riff 12 This example has a nice swinging boogie woogie feel to it. The left hand is playing a two measure boogie woogie phrase while the right hand is playing a rhythmic keyboard style that is anticipating the first beat of the measure as in measures 3, 5, 7, 9 or laying back off the beat as in measures 2, 6,10, 12. Riff 13 This example is a much used blues/rock progression in a minor key (Ebm). Notice how the octave bass is stationary while the chords move. For instance while the bass is playing an octave Eb the chords are moving from Ebm to Gb (a minor third up from Eb) and then to Ab (a fourth up from Eb). The same progression occurs when the chord changes to Abm in measures 5 & 6 . To finally resolve back to the Ebm the chords ascend from Cb (measure 9) through Db (measure 10) to Ebm. The chords are often played on the off beat. Riff 14 This somewhat simple funky blues pattern harks back to the early 1960s with such songs as Mustang Sally, Notice, once again, the anticipation of the first beat of the measure by playing the notes on the last eighth note of the measure instead of the first beat of the next measure giving the rhythm a push. Notice the eighth note staccato rhythm on the V chord (F7) in measure 12, a common device used by James Brown to bring the song back to the I chord (Bb) again. Riff 15 This example does not go through the normal 12 bar blues progression. It starts on the IV chord (C7) instead of normally starting on the I chord (G7). However, there is still the V (D7) to IV (C7) to I chord (G7) descending chord pattern at the end of the sequence.

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Riff 16 This funky blues example in the key of B is adapted to keyboards from a guitar riff taken from a Junior Wells song. Make sure when playing the four 16th. notes in the third beat of each measure that you alternate between the 2nd. & 3rd. fingers. Trying to play all four notes with one finger is much more difficult. Riff 17 This mid tempo rock/blues example in the key of C contains two commonly used devices for blues keyboard playing. The use of grace notes such as in measures 1, 2, 3 etc. where the grace note is generally the #4 of the chord (F# in measure 1) or the b3 of the chord (Eb in measure 2) giving a characteristic blues sound. The second device is the use of triplets over a straight rock beat as in measure 9. The left hand is playing a driving eighth note pattern. Riff 18 This example contains an 8 measure progression instead of the normal 12 bar blues. I included it all the same just to give a little variety to the chord progressions. The use of tremolos as in measure 5 is another important feature of playing blues piano. The first two beats of each of the first four measures of the piece is identical while the last two beats contain different fills another common practice of blues playing. This refers to the use of repetitive riffs followed by improvisational fills. Try this out for yourself by playing the first two beats as written and then creating your own fills on the last two beats. Riff 19 This mid tempo funky blues example uses the dominant7#9 chord effectively. Notice in measure 4 how there is a slide up to the G7 chord from a half step below (A# C# E to B D F) another useful tool in blues & jazz. Riff 20 This example has a Latin flavor to it with the bass, playing a typical Latin bass part. I would strongly recommend as with all the other examples to practice each hand separately before trying to put both hands together. There is a great deal of syncopation between the two hands and each hand needs to be practiced individually. If you enjoyed this particular example and want to find out more about Salsa or Latin piano styles I would thoroughly recommend a book by Carlos Campos called Salsa & Afro Cuban Montunos for Piano a book we publish. Riff 21 This boogie woogie piece consists of a bass line that is playing octaves using the 1, 3, 5 & 6 notes of the chord. Once again grace notes and triplet figures are used to produce an authentic blues sound. Riff 22 This is another example of a medium tempo boogie woogie piece and comments made to previous boogie woogie pieces apply to this one as well. Riff 23 This example as with previous boogie woogie examples consist of very strong & rhythmical bass lines. There are many different bass patterns that can be used either separately or interchangeably. Try and learn and memorize as many of these examples as possible.

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Riff 24 This gospel inspired 16 measure blues in the key of Gm is played in time. Full chords as well as octaves gives this example that gospel sound. Refer to my book Gospel Riffs God Would Love to Hear for an in depth look at gospel piano/keyboard playing. Riff 25 This medium tempo funky blues uses a repetitive riff that incorporates both hands playing a syncopated pattern. Notice that both staves are written in the bass clef.. Because of the very syncopated rhythm practice this example at a very slow tempo counting the rhythm very strictly. This type of piano/keyboard playing was very popular in the late 1960s and 1970s with the use of the Clavinet a very percussive keyboard instrument. Keyboard players such as: Stevie Wonder, Herbie Hancock and Billy Preston perfected this style. Riff 26 This boogie woogie example in the key of D uses a dense 3 note chord pattern with the left hand. Notice the typical blues ending in measures 11 and 12. Riff 27 This is another Latin influenced blues piece in the key of Am. The bass line is playing a 1 - 5 - octave pattern while the right hand is playing a mixture of chords, octaves and single note melody lines. Riff 28 This medium tempo jazz swing blues distinguishes itself from the normal 12 bar blues progression because of the more sophisticated chord sequence that is used. Measures 7 & 8 consist of a chromatic run down (C7, B7, Bb7 & A7) which then proceed to a II V I (Dm7 G7 C7) chord progression in measures 9 through 11. This is followed by a popular I VI II V (C7 A7 Dm7 G7) turnaround in measures 11 & 12. The left hand is playing a walking bass line typically used in jazz. Riff 29 This funky blues example uses 9th. chords, played rhythmically with the right hand, throughout the piece while the left hand is playing a syncopated bass line. Instead of staying on the C9 chord for the first four measures, there are two passing chords Eb9 & D9 at the end of each measure to make the progression more interesting. Riff 30 This example uses another boogie woogie bass pattern. The right hand is playing rhythmic patterns using 6th. chords. The notes in the first beat of the first measure consists of A, C# F# (the F# being the sixth note in the scale of A). The same applies when the chords change to D and E. The 6th. and 9th. chords generally give the blues a more jazzier feel. Riff 31 This rock/blues example uses the Bo Diddley beat, a beat that Bo Diddley created in the early 1960s and which has been used in countless rock & blues songs. Notice the vamping back and forth of the chords such as: Ab to Gb back to Ab. The bass is once again playing a syncopated line with octave run ups at the end of each measure. Riff 32 This uptempo minor jazz blues example, once again, utilizes a walking bass line through the progression. Two jazz songs come to mind that use this progression are Sugar and Blue Bossa.

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Riff 33 This funky blues example in the key of F alternates between the I (F) and the IV (Bb) chord in each of the I, IV (Bb to Eb a fourth above Bb) & V (C to F a fourth above C) positions. The bass is playing a repetitive figure using the b3 to the natural 3 of the chord. Riff 34 Another mid tempo funky blues this time in the key of A, not a favorite key for keyboard players but definitely a favorite for guitar players. With that in mind it is important to try these riffs out in as many keys as possible especially if you are going to be playing with other musicians. A singer may not have the range to play in a key that you are accustomed to playing and therefore you will have to play in a key that suits them. Riff 35 This straight ahead blues piece in a minor key has the left hand playing octaves. In measures 9 and 10 the right hand is playing the chords of D and C but without the 3rd. giving, as explained in a previous example, an ambiguous sound neither major or minor. This particular chord without the third is used by many rock & blues guitarists. Riff 36 Another boogie woogie piece, nothing more to add that has been mentioned in previous examples. Riff 37 This funky blues in the key of E incorporates the dominant7#9 chord. I used a Wurlitzer piano sound to produce attacking & gritty sound that the Wurlitzer is famous for. Riff 38 This funky blues piece in the key of B minor uses the Rhodes sound to produce a jazzy flavor. Most of the melody line is based on the B blues scale however in measure 9 the melody line is based on the G blues scale played over the G9 chord. Riff 39 Another boogie woogie piece with the left hand playing an octave bass line while the right hand is playing a rhythmic pattern. Riff 40 This slow minor blues, again using a Rhodes sound to produce a jazzy flavor, incorporates the use of minor 10th.s with the left hand. The minor 10th.s may be a stretch for some people and if that is the case play the octave of the chord rather than the 10th. (Play D - A - D) instead of (D - A - F).The minor 10th. position is immediately followed in the measure by the minor 9th. giving a rhythmic pulse to the piece. The right hand is playing tasteful melodic lines that are very bluesy finally resolving in a Dm(maj7) chord, a popular ending chord. Riff 41 I thought I would add a couple of country blues examples in the mix. This example in the key of E utilizes a typical country bass line using the 1 - 5 - octave of each chord. Notice in measure 4 there is a chromatic octave run up from the E chord to the A chord in measure 5. Country is generally not as syncopated as blues, funk or jazz and does not often use the blues scale. It does, however, use chromatic runs as shown in measures 9 & 10.

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Riff 42 This country blues riff consists of the left hand playing 1 - 3 - 5 of the chord. Chromatic runs occur in measures 7 & 8. Riff 43 This slow blues uses triplet rhythms and very fast repetitive runs, using the blues scale, to produce tension in the music. The left hand is playing a bass line using octaves. Riff 44 This slow blues features the use of tremolos in measures 1, 2, 3 & 9. Use your 2nd. & 4th. fingers to play the tremolos. Again, there are fast blues scale runs while the left hand is playing a bass line using octaves. Riff 45 A boogie woogie riff that uses the same characteristics as previous boogie woogie riffs. Riff 46 This rock/blues example consists of the left hand playing the octave of the chord on the 1st. and 3rd. beats with the actual chord played on the 2nd. & 4th. beats. The right hand is generally playing octaves around the A blues scale. I particularly like measure 6 where the chord changes from Am7 to A7 and how the melody follows the chord progression. Notice the descending chord progression in measures 8 & 9 from Dm7 - Dm(maj7) - Dm7 - Dm6. Riff 47 This uptempo jazz blues example again uses a walking bass line as a foundation for the piece. The chord progression or harmony is the most complex of any of the examples in this book and moves around the cycle of fifths using II - V - I progressions such as Am7 - D7 - Gm7, Fm7 - Bb7 - Ebmaj7, Dm7 - G7 - Cm7. Riff 48 This gospel/blues example uses the wurlitzer piano sound to produce an uplifting feel. The left hand is playing a very syncopated bass line while the right hand is playing a mixture of rhythmic chords, single note lines and octaves. Riff 49 This funky blues with a Latin feel consists of a syncopated bass line that really stands out. The right hand is generally playing melodic lines using the Ab blues scale along with the 6th. & 9th. notes of the Ab major scale. In measure 11 there is a chromatic run up using notes a 4th. apart. Riff 50 This example as well as riff 51 has a modern hip hop feel to it. Once again the use of the C blues scale is prevalent throughout the piece. Riff 51 This example starts and finishes with a chromatic melodic line. The left hand, instead of playing a bass line as in the previous example, is playing chords. It starts off with whole notes and then builds up into more complex rhythms.

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llll lllll


20

======================& bbbbbb 44

CD track 13

q = 120Ebm __j_ __j_ ___j __j_ ___j __j_

Gb/Eb_

Ab/Ebn_


Ebm__j_ ___j __j_ __j_

======================? bbbbbb 44 _ _

_ _ _ _

_ _ _ _

_ _ lllll l

llll lllll l

llll

======================& bbbbbb ___j _

Gb/Eb n_Ab/Eb Abm_j _j _j _j _j

Cb/Ab Db/Ab

======================? bbbbbb _ _

_ _ ___ ___ ___

___ ___ ___

___ ___ lllll l

llll lllll l

llll

======================& bbbbbb

Ebm___j __j_ __j_ ___j __j_ _

Gb/Eb n_Ab/Eb

_Cb

_ _ _

======================? bbbbbb _ _ _

_ _ _

_ _ __ __ __

__ lllll l

llll lllll l

llll

======================& bbbbbb

Db

Ebm__j_ ___j ___j __j_ __j_ _

Gb/Eb n_Ab/Eb

ww_w__Ebm

======================? bbbbbb _ _ _

_ _ _ _

_ _ _

_ _ w_lllll l

llll lllll l

llll

RIFF 13Rock Blues

21

======================& bb 44

q = 120CD track 14

_Bb7

_ b___ ___ ___ _ _ _j b__ _ ___ ___ _ _ Composed & Arranged byAndrew D. Gordon

_j _ b__ ___ ___ _ _======================? bb 44 __

__ b __ __j b __ __j

b __lllll l

llll lllll l

llll

======================& bb _ _ b___ ___ ___ _

__ Eb7 j b _ j b _ _n

======================? bb __j b _

_ _ b

_ _j b

__lllll l

llll lllll l

llll

======================& bb _j

Bb7_b__ ___ ___ _ _ _j b__ _ ___ ___

_ F7 j _

======================? bb __j b __ __j

b

_l

llll lllll l

llll lllll

======================& bb

Eb7j b _ n_ _j

Bb7b__ _ ___ ___ ___

F7

_____j _____ _____ _____ _____ _____ _____ b w__w_ww___Bb7

======================? bb _j b

__ __j b j w__l

llll lllll l

llll lllll

RIFF 14Funky Blues

22

======================& # 44

q = 120

CD track 15

C7

_ n _ # _

_ n _

# __

G7

_ __


_ __ #_ __======================? # 44 __ _ __ _ ___ __ _ _ _lllll l

llll lllll l

llll

======================& #

_ __ _ __ #_ n_

C7

_ n _

# _

_ n _

# __

======================? # ___ __ _ _ _ __ _ __ _ l

llll lllll l

llll lllll

======================& # _

G7 e__ _ e__ #_ e e__ _ e__ _ e__ #_

D7

# _

======================? # ___ __ _ _ _ ___ __ _ _ _ _ l

llll lllll l

llll lllll

======================& #

C7 _ n _

# __

_G7

__ _ __ #_ __ _ __ _ __

#_ nwwww_======================? # __ _ ___ __ _ _ _ ___ __ _ _ _ w___lllll l

llll lllll l

llll

RIFF 15Mid Tempo Blues

23

======================& ##### 44

q = 120 .

CD track 16

B7

n__j ______ _ . n__j_ _____ _ .Composed & Arranged byAndrew D. Gordon

n__j_ _____ _======================? ##### 44 __ _j _j __ _j _j __ . _j _j lllll l

llll lllll l

llll

======================& ##### . n__j _ _ _ _ __ _ .

E7

nj . nj ======================? ##### __ . _j _j _ . j j

_ . j j lllll l

llll lllll l

llll

======================& ##### .

B7

n__j _ ___ __ _ . n__j _ ___ __ _ .F#7

j

======================? ##### __ _j _j __ . _j _j . j j l

llll lllll l

llll lllll

======================& ##### .

E7

nj .B7

n__j_ ___ __ _ . n__j_ ___ __ _ w_======================? ##### _ . j j __ . _j _j __ . _j _j w__lllll l

llll lllll l

llll

RIFF 16Funky Blues

24

======================& 44

q = 120C7

CD track 17

__

#

j

b_ n_ _ _ _J nb j J _J b j n _ #

j


b_ __ n_J _ # j J

======================? 44 __ __ b __ __ __b_ n_ __ __ b __ __ __ b_n_ __ __ b __ __ __ b_ n_lllll l

llll lllll l

llll

======================&

_ b n _ b n _ _F7

_____b___ b ___J ___ # j __J_ ___ b ___ __b _ __n _ ___ b ___ __n _ ___

======================? __ __ b __ __ __ b_ n_

b #

b # l

llll lllll l

llll lllll

======================&

C7#

j

___ _ n _ b n _ b n _ _ b n _ G

7 b _ __ n ___ ___

__b _ __n _ ___ __ b _ __n _ ___

======================? __ __b __ __ __b_n_ __ __ b __ __ __ b_n_

b nlllll l

llll lllll l

llll

======================&

F7 __b______ __b _ ___ ___ ___ C7 __b_ _J _ b j Jn _ b n _ b n _ wwbw

======================?

b # __ __ b __ __ __b_ n_ __ __b __ __ __ b_n_ w__l

llll lllll l

llll lllll

RIFF 17Rock Blues

25

======================& # 44CD track 18

q = 102

n____b _j

___G7

n____ n# n ______n_b _j

___ ____

b n n_


b _

j n ___ ___ ____

#n b======================? # 44 ___ _ _ _ n _ _ ___ _ _ _ n _ _ ___ _ _ _ n _ _lllll l

llll lllll l

llll

======================& # n_n ___b _j

___ ____ n

nJ

D7

____K_____`mmmmmmmmmmmmmmmmm

Em

___b _ _

D b

======================? # ___ _ _ _ n _ _

_ _ _

_ _ _ __l

llll lllll l

llll lllll

======================& #

C

#j

be #E __ b _ _ _ # ww

G

======================? # w__w w__w ww___lllll l

llll lllll

RIFF 18Rock Blues

26

======================& ## 44

CD track 19

q = 96

n ____nD7(#9)

____ _ ___ n ____

n ____ _ . ___

j_ n ____n

_


___ _ ___

======================? ## 44 _ n _

n _ n l

llll lllll l

llll lllll

======================& ## ___n _

n ____ _ . __k_ #__

_G7 n_ _ _ . _j _#__ n_ _ _ . _j

======================? ## _ n n n l

llll lllll l

llll lllll

======================& ## n _n___

D7(#9) ____ _ . __k_ ___n _

n ____ _ . __k_

A7(#9)

n_ _ _ _

======================? ## _ n _

n lllll l

llll lllll l

llll

======================& ##

G7

#___ n_ _ . ._j. _ _ nn ____

D7(#9)

____ _ . ___ ___n _n ____ _ . __k_ w___n w_nw

======================? ## n _ n _

n w_lllll l

llll lllll l

llll

RIFF 19Funky Blues

27

======================& b 44

q = 109CD track 20

F7

_ b_

_ __

_ _

n_n _

b _

_ __

__

nn_


_ b __ __

__

n_n

======================? b 44 ____. __ __. . __j ____. ____.

. __j ____. __ __. . __jl

llll lllll l

llll lllll

======================& b _

b_

_ __

__

nn_

Bb7 bbb

nn

bbb

nn======================? b ____. ____.

. __j __. . . j __. .

. jlllll l

llll lllll l

llll

======================& b

F7

_b _

_ __

_ _

nn_ _

b _

_ __

_

_ nn_

C7

##

======================? b ____. __ __. . __j ____. ____.

. __j __. . . jl

llll lllll l

llll lllll

======================& b

Bb7

bbb

nn

_

F7

b __ __

__

nn_

_b _

_ __

_

_nn_ wwbw

======================? b __. . . j ____. __

__. . __j ____. ____. . __j w____l

llll lllll l

llll lllll

RIFF 20Latin Blues

28

======================& # 44

q = 110CD track 21

#

JG7

n # J

n Composed & Arranged byAndrew D. Gordon

#

J

n ======================? # 44 ___

__ _

_

___ __ _

_ ___

__ _

_ l

lll llll l

lll llll

======================& # # J

n JC7

___

n_ J ___

n_ ======================? # n

n _ _ __ __

_

__ _

l

lll llll l

lll llll

======================& #

G7

#

J

n # J

n D7

n#

======================? # ___

__ _

_ ___

__ _

_

_

llll l

lll llll l

lll

======================& # n

# C7

_ b # G

7n # b _# __ __n _ ___# __ _______

__ ___ ___ ____ ____ n ____n__ w_w__

w___w======================? #

__ _

___

__

__ #__# _ _ ___ ww___l

lll llll l

lll llll


29

======================& b 44

CD track 22

F7

q = 107

_ _

_ _ _

b _

_ _ _


_ _ _

======================? b 44 ____ ___ __b_ _ _

______ ____ ___ __b_ _ _ ______ ____ ___ __b_ _ _

______llll l

lll llll l

lll

======================& b

__ __b _

b

Bb7 ___

b ___ ___ ___

___ ___ ___b _

__ ___ ___

___ ___

======================? b e____ ___ __b_ _ _ ______j

__ _ b _ __ _ b _l

lll llll l

lll llll

======================& b b _

j

F7 n _ ___________ _____________ ___________ n _b _ b _ _ bn bn======================? b ____ ___ __ b_ _ _

______ ____ ___ __b_ _ _ _ _____l

lll llll l

lll


30

======================& b

_C7 _ _ _

_ __ __ b j

Bb7 n b _ ======================? b __ _ j

_ __ _ b _l

lll llll l

lll

======================& b

F7 b j b

======================? b ____ ___ __ b_ _ _ _ __ ___ ____ ___ __ b_

_ _ _ __ ___llll l

lll llll

==========& b ww==========? b wllll

31

======================& bb 44

q = 100CD track 23

Bb7 b___ _ ___ _ b_

_ b___ _

b _b _ _ _ Composed & Arranged byAndrew D. Gordon

b__ _ ___ _ _b _ ___

======================? bb 44 __ __b_n_ _ _b_n_ __ __b_n_ _ _b_n_ __ __ b_n_ _ _b_n_llll l

lll llll l

lll

======================& bb ___

Eb7 b

b b b b _b _ _

======================? bb __ __ b_ n_ _ _ b_ n_ _ _ # b _ _ # b l

lll llll l

lll llll

======================& bb _

Bb7b__ _ ___ _ b_ _ ___ ___

F7

======================? bb __ __ b_ n_ _ _ b_ n_ __ __ b_ n_ _ _ b_ n_ b n b nl

lll llll l

lll llll

======================& bb b

Eb7 b b b__ _

Bb7_ ___ _ _

b _ ___ ___ _ bb _

_ _ wb w__w_wBb9

======================? bb _ _# b __ __ b_n_ _ _b_n_ __ __b_n_ _ _ b_n_ w__wllll l

lll llll l

lll


32

======================& bb 34

Gm7

CD track 24

q = 85

n n

#D7

Composed &Arranged byAndrew D. Gordon

Jb n

======================? bb 34 ___ ___ ___ _ _ _ _ _lllll l

llll lllll l

llll

======================& bb n

j

Gm7 _

======================? bb ___ ___ ___ _ _lllll l

llll lllll l

llll

======================& bb

C7 __J _ n n

Gm7 n

======================? bb __ __ __ ___ ___ ___lllll l

llll lllll l

llll

======================& bb

n _#D7 _j

n n

_# n _ _

======================? bb _ _ _ _ _ lllll l

llll lllll l

llll

RIFF 2416 bar Gospel Blues 3/4 time

33

======================& bb n

Gm7_ __ _ ___ ___ _ n_

__ _ ___ ___ C7 _n nb b _ b j======================? bb ___ ___ ___ _ _ __ __ __llll l

lll llll l

lll

======================& bb b

. . . .

Gm

======================? bb ___ .llll l

lll

34

======================? bbbbbbb 44

q = 104CD track 25

Abm7J J . J J . Composed & Arranged byAndrew D. Gordon

J J . ======================? bbbbbbb 44 ___. _

. _k ___. _ . _k ___. _

. _kllll l

lll llll l

lll

======================? bbbbbbb J J .

Dbm7J _ _ _J . _ J _ _ _J . _

======================? bbbbbbb ___. _ . _k _.

. k _. . kl

lll llll l

lll llll

======================? bbbbbbb

Abm7 J J . J J . Ebm7 J _ __ _J . _

======================? bbbbbbb ___. _ . _k ___. _

. _k _. . kl

lll llll l

lll llll

======================? bbbbbbb

Dbm7 J _ _ _J . _ Abm7J J . J J . ======================? bbbbbbb _.

. k ___. _ . _k ___. _

. _k ww___llll l

lll llll l

lll

RIFF 25Funky Blues

35

======================& ## 44

CD track 26q = 100

D7 J n n n #Composed & Arranged byAndrew D. Gordon

__J

___ __

======================? ## 44 _ _ _ _ n_ _ _ _ _ _ _ _ _n _ _ _ _ _ _ _ n_ _ _ _lllll l

llll lllll l

llll

======================& ##

n ___ n _____ ___

__nn ____ nG7

n

======================? ## _ _ _ _ _n _ _ _ n n n n l

llll lllll l

llll lllll

======================& ##

D7

n_j _n _ _ n_

_n

_

A7

======================? ## _ _ _ _ n_ _ _ _ _ _ _ _ _n _ _ _ l

llll lllll l

llll lllll

======================& ##

G7

n n

D7

# n_

n w_ww

======================? ## n n _

#

# _ ww_l

llll lllll l

llll lllll


36

======================& 44CD track 27

q = 79Am7

# #b n __

_

E7 Composed & Arranged byAndrew D. Gordon

_ # .#J

.

======================? 44 ___ . _j _ . j ___ . _j_ .

j _ . j . Jlllll l

llll lllll l

llll

======================& b n _ #

Am7 Dm7

======================? _ . j . J ___ . _j_ . j ___ . _j_ .

j _ . j . Jlllll l

llll lllll l

llll lllll

======================&

Am7 ___ _____ __E7

_ #__ ____ _____. _======================? _ . j . J ___ . _j _ .

j _ . j . Jlllll l

llll lllll l

llll

======================& _

Am7

_ __ __ _ _ #E7 _ w__

Am

======================? ___ . _j _ . j _ . j . J w___l

llll lllll l

llll

RIFF 27Latin Blues

37

======================& 44

q = 124CD track 28

C7 _ _b _ b

F7 n __J _ Composed & Arranged byAndrew D. Gordon

C7

b

======================? 44 __ _ # b n __ _ #l

llll lllll l

llll lllll

======================& bj n

F7

b _

b _

======================? b n # b n b nlllll l

llll lllll l

llll

======================&

C7 B7 # B

b7 b A

7 # Dm7 J

======================? b #_ _ _ #l

llll lllll l

llll lllll

======================&

G7 __ _ C7

A7 b Dm7 J G7

wC

======================? b n __ b__ ___ b_ _ #___ n___ #__ w__lllll l

llll lllll l

llll

RIFF 28Jazz Blues

38

======================& 44 b _ CD track 29

q = 102

_____C9

______ ______ ______ .___j.__._.Eb9

___b ___#___D9

b ______ C9

______ ______ ______ .__._.___j.Eb9_ __b __#____

D9


_____b _C9

______ ______ ______ __.___j._. .Eb9

___b ___#___D9

======================? 44 __. b n . k b_ _ __. b

n . k b_ _ __. b n . k b_ _l

llll lllll l

llll lllll

======================& b______

C9

______ ______ ______ ___j.__._. . ______# _#__#

F#9___b

F9

___ ___ ___ __j. ._. . # _n ##__F#9

___ _ b__F9

___ ___ ___ _. . .__j.Eb9

b ___bD9

__n#____======================? __. b n

. k #j . b n # . b n b_ _lllll l

llll lllll l

llll======================& b_ _____

C9

______ ______ ______ __.___j._. .Eb9

_ b__ __#____D9

_____b_C9

______ ______ ______ __._. .___j. ______ bb _b

Ab9 G9 _j _ _ . _kF#9##__j# _

======================? __. b n . k b_ _ __. b n

. k bj # J . #lllll l

llll lllll l

llll======================&

F9

b__j_ ___ ___ __bb _ Eb9

___n#___D9 C9 ___jb___ ______ ______

Eb9_ b__ __#____

D9 C9b____j__ ___j. .__._. _.___j.__. . ______ ww__b w_w___======================? b n J . b_ _ __ b n

j. b_ _ __ b n . __k

j w__lllll l

llll lllll l

llll

RIFF29Funky Blues

39

======================& ### 44 _

CD track 30

q = 80A7

__ _n__ ___ ___ ___ ___ ___

D7

n_ _ _A7

___ n___


___ ___ _ __ ___ ___ ___======================? ### 44 n___ ___ ___ ___ ____ ____ ___ ____

n_ _ _ _ _ _ _ _ n ___ ___ ___ ___ ____ ____ ___ ____lllll l

llll lllll l

llll

======================& ### ___

#_nn

D7

n_ _ _ _j n_ _ _

======================? ### ___ n ___ ___ ___ _ ___ ____ ___ ____ n_ _ _ _ _ _ _ _ _ n _ _ _ _ _ _ _l

llll lllll l

llll lllll

======================& ### _

A7

__ _n__ ___ ___ ___ ___ ___ n___ ___ #

# __n ___ ___ E7

======================? ### ___n ___ ___ ___ ____ ____ ___ ____ n ___ ___ ___ ___ ____ ____ ___ ____ _ _ _ _ _ _ _ _l

llll lllll l

llll lllll

======================& ###

D7

n_ _ _A7

__

___ _

__

# __ E7

======================? ### _n _ _ _ _ _ _ _ ___

__ ___

_

#_# _

_ _

_ _ lllll l

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40

======================& bbbb 44

q = 95

_.CD track 31

__. .Ab

___ __j_ Gbb__j_

Ab___ __. ._.

Ab___ ___j

Gbb__j_

Ab___


__._. .Ab

___ __j_ Gb

b__j_ ___Ab

======================? bbbb 44 ___ _____

b b n n ___ ____

_

b b ___ ____

_

b bn nl

llll lllll l

llll lllll

======================& bbbb __._. .

Ab___ ___j

Gbb__j_

Ab___

. . .Db

Cb

b _jbDb . . .

Db j b _jbCb

Db

======================? bbbb ___ _____

bb _

b

b _nn _ _

bb _l

llll lllll l

llll lllll

======================& bbbb __. ._.

Ab___ ___j

Gbb__j_ ___

Ab __. ._.

Ab___ __j_

Gbb__j_

Ab___ .

. .Eb j

DbjEb

======================? bbbb ___ _____

b bnn ___ _____

bb

_

_

_nn _l

llll lllll l

llll lllll

======================& bbbb . . .

Db jCb

b _jb Db

__._. .Ab

___ __j_ Gbb__j_ ___

Ab __._. .Ab

___ __j_ Gb

b__j_ ___Ab

======================? bbbb _

b

b _nn _ ___ ____ _

b b n n ___ ____ _

b b n n w___wlllll l

llll lllll l

llll

RIFF 31Rock Blues

41

12 Bar Blues Bible

Documents

Transcript of 12 Bar Blues Bible