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.
Oh definitely not skipping it. You may remember (though hopefully not) the dreadful rendition in lesson 4.
But somehow, my ears don't like it very much following the G7 F7 sequence we're playing in this particular lesson.
Yeah, I know, bloody beginner and already picky 
