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:

  • top line = bar 8 + 9 + 10
  • bottom line = bar 11 + 12

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.

TC3 May be. I must admit, his videos are better than his sheet music is. Nevertheless, I will continue to buy them as they are still helpful, and I want to contribute some money to him.

  • TC3 likes this.

    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:

      Sophia Just wait until you discover 8-bar blues, 16-bar blues, and even 13&1/2-bar blues. (Not I'm not joking!)

      Enthusiastic but mediocre amateur.

          Just when I thought I was close to a pro beginner, you reduced me to bloody beginner again. Not fair!

            Sophia "Reduced to a bloody beginner OVER AND OVER again" sounds like the perfect description of progress to me! 😃

            Enthusiastic but mediocre amateur.

              TC3 Just wait until you discover 8-bar blues, 16-bar blues, and even 13&1/2-bar blues. (Not I'm not joking!)

              8-bar blues: video 7

              Curious abut 16-bar and 131/2 bar

              • TC3 replied to this.
              • TC3 likes this.

                  WieWaldi

                  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.

                    • TC3 replied to this.
                    • TC3 likes this.

                        WieWaldi Yeah, staccato one hand and legato the other is difficult for me too, in either combination. And of course, you can play the LH parts either way, even switch back and forth -- as long as it's on purpose! 😃

                        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.

                              Sophia You want to skip the mother of all turnarounds? Frankly speaking, to be able to play the turnaround with a metronome cost me the same practicing time as the rest of the lesson. I always tended to slow down and call it "musical freedom".

                                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 😅

                                  Sophia ...bloody beginner and already picky 😅

                                  Call it musical preference 🎻🎶

                                    You're too kind, lol!

                                    @Sophia It's like you are a 🐎💨 and I'm a 🐌. So I rushed out my next video,before you could post yours. This makes me a 🐢 - but not slower.
                                    (Glad I distacted you with this turnaround and the mother of all the stuff thing 🥳)