The Blues Piano Cheat Sheet

Form

     
Standard 12 Bar Blues Form

           
C7 F7 C7

                
5 F7 C7

                 
9 G7 F7 C7 ( G7 )

Jazz 12 Bar Blues Form

                
C7 F7 C7

                
5 F7 F♯ο7 C7 A7

                 
9 Dm7 G7 C7 ( A7 D7 G7 )

                                       
Left Hand Patterns
C7

                                       

5

 
                                



9

     
3




              
     
13

    
2 Walking Basslines


Walking Bassline #1

           
C7 F7 C7

   

      
      
F7 F♯ο7 C7


5

 


        
Dm7 G7 C7 A7 Dm7 G7

   
9

  


Walking Bassline #2

  
      
    
C7 F7 C7



   
F7 F♯ο7 C7 A7

      
5

     
 

      
Dm7 G7 C7 A7 D7 G7

   
9

    
Scales

      
 
C Blues Scale C Major Blues Scale

     

     
Soloing Techniques


       
          
Octaves Drone Notes

   

       gliss.
  
Glissando

 
3 Tremolo

  
              
      
Chromatic Run


        
5 Crushed Notes

  
3 3
3 3

            
                
Harmonising with 3rd & 6ths Quick Runs 3
7


    
                 
Licks 3

           
        
Crossover Licks

     3

         
3 3


3

                       
  
5 3

            

   
          
 
  
    
Other Licks


      
9
3 3

  
    
   
                  
         
3


14

 
        3
    
3 3

            
          

 
17 3 3

    
3


3 3 3
Turnarounds

       
     
C7 A♭9 G9

    


   
   


             
      
C A♭9 G9


3 3 3 3


     
   


    


  

      

5 A♭9 G9

    
   
   
 
           
4

                                  

Example Solo


3 3 3

      
 
C7 F7 C7

      


     
   
                             
6 3

 

3 3

       
    
F7 F♯ο7 C7 A7


 

                    


                     
      
10 3 3 3

    
 

3

      
Dm7 G7 C7 G7

          


     
          
                                      

14 3

   F7
              
3 3
C7 3


C7 3


3


                
                        
18



     
F7 F♯ο7 C7 A7


     
    
      3
 
                     
             
22
3 3

3  

3

    
Dm7 G7 C7 D♭7 C7

        