Sophia Sorry - I didn't buy his 1st patch of sheet music. From lesson 4-7 I made them up by my own (but bought the consecutive ones, because I was too lazy after this).
Let me share it for you: (Don't get confused by 12/4 time signature, the swing is baked in)
Sophia should it be played instead of bar 11 and 12, or after?
Instead of bar 11 and 12 - exactly as in my sheet music. The page is one complete 12-bar sequence.
btw: you are really fast in learning this! chapeau 
PianoMonk Hope this helps.
Always, thank you! You too, WieWaldi. This is what his sheet music shows:
It starts with bar 10, 11 and 12 (the rest is on the previous page):
And after that it shows the turn around.
TC3 I think the bars that look like measures 13 & 14 are just meant to be a separate thing, a new turnaround you could use over bars 11 & 12. Does that make sense?
Yes, I think he just forgot the double bar just before that 
Forget what I said in the last post. Doesn't make any sense now.
I am confused with his sheet music. Let's call his version:
Then bar 9+10 are C7 (makes no sense as 9+10 are normally G7+F7)
And bar 8 is F7, but played lower than C7. (in his tutorial, C7 is the lowest chord, while F/G7 are a few key higher).
Nah - do yourself a favor and stick to my version. It works and it sounds, believe me.
Another thing - you will find in my sheet music more notes than in his one. I didn't invent them. Just looked at his fingers.
Haha yeah I guess we'll just go by what @PianoMonk said - in words even I can understand. A 12 bar blues is a 12 bar blues. Not 14. Can't argue that 
Btw: my sheet music is exactly what you hear from 2:00 to 2:36 in this old video:
I just came across this neat article:
https://fathertheo.wordpress.com/2011/05/26/the-twelve-bar-thirteen-bar-fourteen-bar-blues/
Enthusiastic but mediocre amateur.
Just when I thought I was close to a pro beginner, you reduced me to bloody beginner again. Not fair! 
13&1/2 isn't as weird as it sounds. If you think of the 12-bar blues as three groups of 4 measures, it's just adding two beats to each of those three. For example, a song might treat each of those groups of 4 as two bars singing and two bars of instrumental response, but add add two beats to the vocal line of the first two bars.
For an example of 16-bar blues, Herbie Hancock's "Watermelon Man" comes to mind (though that's on the jazzier side).
Enthusiastic but mediocre amateur.
TC3 Btw, Theophilus, in my video starting 2:36 you told me to stay staccato with left hand (1 year ago in the other forum). You are right. But it cost me a lot of time to get this into my hands. LH: staccato, RH: legato. And then the other way around. It drives me crazy. This is why I stuck in the 1st easy blues lesson right now. The only thing helping me out is a metronome 
, forcing me to keep slow tempo.
This fellow talks about Charlie Patton and 13&1/2 bars about 3/4 of the way down the page:
Enthusiastic but mediocre amateur.
Sophia The 3 bars, F7 C7 C7 are the simple body of the tune. The 2 bars below are to be substituted for the last 2 bars of C7, a classic ending phrase. If you play those triplets over a C7 chord however, it sounds terrible. Fine, with just the bass notes. The phrase implies a chord progression, and to actually see the tonality play, C7 under the first triplet, F#dim7 over the second, Fm6 over the third, then C, F, F#, G in the last bar, before returning to the top, or playing a final ending chord, which could be a simple Cmajor triad, or C9 for a more jazzy sound.
Well, I decided to compromise and just practiced the lesson with the sequences shown in the top line. That also means I'm just about done with the lesson (sorry WieWaldi) although I want it to sound a little more smoothly before I record it and continue to the next.
