Examples of 12-Bar Blues Songwriting Tips: 3 Essential Examples

Before we get into specific examples of 12‑bar blues songwriting tips: 3 essential examples, let’s ground this in something your ears already know.

Think about songs like:

• “Hound Dog” (Elvis Presley)
• “Sweet Home Chicago” (Robert Johnson, later The Blues Brothers)
• “Pride and Joy” (Stevie Ray Vaughan)
• “Rock and Roll” (Led Zeppelin)

All of these are built on some flavor of the 12‑bar blues. Different tempos, different eras, different production—but the same skeleton underneath.

That’s the power of this form: one simple structure, endless personalities.

In this article, we’ll walk through three of the best examples of how to use that structure in your own writing:

• A straight, classic 12‑bar for beginners
• A “quick change” variation that feels more alive
• A modern, riff‑driven twist that works in rock, pop, and indie

Along the way, we’ll keep circling back to concrete examples of 12‑bar blues songwriting tips so you can steal the moves and plug them into your own songs.

Example 1: Classic 12‑bar blues you can write in 10 minutes

This first example of 12‑bar blues is the version most people learn first. It’s the musical equivalent of a plain white T‑shirt: simple, but it works with everything.

Let’s put it in the key of A, because it’s guitar‑friendly and easy on the fingers.

The chords:

• A7 (I)
• D7 (IV)
• E7 (V)

The 12‑bar pattern:

• Bars 1–4: A7
• Bars 5–6: D7
• Bars 7–8: A7
• Bar 9: E7
• Bar 10: D7
• Bar 11: A7
• Bar 12: E7 (or A7 to “end” it)

You can hear a close cousin of this in early electric blues and in countless bar‑band jams.

Lyric pattern: the A–A–B trick

One of the most practical examples of 12‑bar blues songwriting tips is the A–A–B lyric structure. It’s simple:

• Line 1 (A): You set up a situation
• Line 2 (A): You repeat or slightly twist that line
• Line 3 (B): You answer it, punchline it, or comment on it

Here’s a quick original example you could literally write today:

• Bar 1–4 (Line 1): I woke up this mornin’, couldn’t find my keys
• Bar 5–8 (Line 2): Yeah, I woke up this mornin’, couldn’t find my keys
• Bar 9–12 (Line 3): Guess my Friday night was better than I thought it’d be

That’s a full 12‑bar lyric verse right there. Not poetry class, but it feels like a blues verse because it follows the pattern.

Songwriting tip from Example 1

Here’s the first of our examples of 12‑bar blues songwriting tips: 3 essential examples boiled down:

• Write your chords first using that simple A7–D7–E7 layout.
• Hum nonsense syllables over it to find your rhythm.
• Turn those syllables into A–A–B lyrics.

If you’re stuck, imagine a tiny, everyday annoyance (missed bus, burnt coffee, dead phone battery) and exaggerate it like the world is ending. The blues is great at turning small problems into big feelings.

Example 2: Quick‑change blues that feels more alive

Once the classic pattern feels comfortable, try this second variation. It’s one of the best examples of how a tiny chord change can wake up the whole groove.

In many examples of 12‑bar blues songwriting, bars 1–4 sit on the I chord the whole time. In a “quick change” blues, you move to the IV chord in bar 2, then back to I.

In A:

• Bar 1: A7 (I)
• Bar 2: D7 (IV)
• Bars 3–4: A7 (I)
• Bars 5–6: D7 (IV)
• Bars 7–8: A7 (I)
• Bar 9: E7 (V)
• Bar 10: D7 (IV)
• Bar 11: A7 (I)
• Bar 12: E7 (V) or A7 (I)

That one bar of D7 in bar 2 makes the whole thing feel more active and less static.

Real‑world feel: think bar band energy

If you’ve ever heard a bar band that just feels more exciting than the next group, even when they’re playing simple blues, this quick change is one of the quiet tricks they’re using.

You’ll hear similar movement in songs like:

• “Pride and Joy” (Stevie Ray Vaughan) – not a strict textbook 12‑bar, but clearly rooted in that language.
• “Sweet Home Chicago” – many versions use that quick move to IV.

These are real examples of 12‑bar blues songwriting tips in action: they use the form, then add small twists.

Lyric and rhythm twist for Example 2

To match the more active chord movement, you can:

• Shorten your lyric phrases, leaving more space for the band.
• Use call‑and‑response between voice and instrument.

For instance:

• Bar 1–2: Baby, you left me
• Bar 3–4: Guitar answers with a short lick
• Bar 5–6: Took my records and my pride
• Bar 7–8: Another lick
• Bar 9–12: But I’m dancin’ in the kitchen, got the radio on my side

This is another concrete example of 12‑bar blues songwriting tips: don’t feel like you must fill every bar with words. Let the instruments talk.

Example 3: Modern riff‑driven 12‑bar blues

Now let’s move to the third of our examples of 12‑bar blues songwriting tips: 3 essential examples—the riff‑driven approach. This is where blues bleeds into rock, indie, and even pop.

Instead of just strumming chords, you create a repeating riff that implies the chords while locking into the groove.

Think of:

• “La Grange” – ZZ Top
• “Rock and Roll” – Led Zeppelin
• “The Thrill Is Gone” – B.B. King (a minor‑key twist on the 12‑bar idea)

These aren’t classroom exercises. They’re real examples of how 12‑bar DNA shows up in songs that still feel fresh on modern playlists.

Building a riff over the 12 bars

Stay in A again. Here’s a simple approach:

• Bars 1–4 (A7): Play a low‑string riff using A, C, D, E.
  Example feel: A – A – C – D – E – D – C – A.

• Bars 5–6 (D7): Move that same pattern up to start on D.

• Bars 7–8 (A7): Back to the A riff.
• Bar 9 (E7): Shift the riff to E.
• Bar 10 (D7): Shift to D.
• Bars 11–12 (A7 → E7): Back to A, then a turnaround lick leading to E.

You’ve just created a rock‑ready 12‑bar bed you can sing over.

Lyric approach: fewer words, bigger hooks

With a riff‑driven 12‑bar, your lyrics can be simpler and more hook‑focused. Instead of long A–A–B stories every time, you might:

• Use a short, repeatable chorus line.
• Save the A–A–B storytelling for verses only.

Example verse (riff under it the whole time):

• Line 1: Midnight highway, headlights in my eyes
• Line 2: Yeah, midnight highway, headlights in my eyes
• Line 3: I’m chasin’ down a feeling money never buys

Then a chorus that just repeats:

Roll, roll, roll, let the blues take the wheel

Over the same 12‑bar pattern.

This is one of the best examples of how 12‑bar blues can live comfortably in modern rock or indie: keep the structure, update the sounds and hooks.

Six more concrete examples of 12‑bar blues songwriting tricks you can steal

We’ve covered our main three patterns, but you asked for more specific ideas—so let’s add several extra examples of 12‑bar blues songwriting tips you can plug in right away.

Example 4: Change the key, keep the pattern

If A feels too low or too high for your voice, move the whole pattern.

• In E: E7 – A7 – B7
• In G: G7 – C7 – D7

Same 12‑bar layout, different key. This is a simple example of adapting the form to your own voice instead of forcing yourself to sing where it’s uncomfortable.

Example 5: Try a minor 12‑bar for a darker color

A minor 12‑bar swaps those dominant 7th chords for minor ones.

In A minor:

• Am – Dm – E7 (or Em)

You’ll hear this vibe in songs like “The Thrill Is Gone” (B.B. King) and in some modern blues‑rock ballads. If your lyric is more introspective—anxiety, loss, late‑night overthinking—a minor 12‑bar can be one of the best examples of matching harmony to emotion.

Example 6: Use a stop‑time verse

Stop‑time means the band hits a chord, then mostly drops out while the singer delivers a line rhythmically.

Classic feel:

• Hit the I chord on beat 1, then silence while the singer delivers a line.

Example:

I said now… (band hits)
Last night, baby, you stayed out way too long…

Then the band comes back in full for the last two bars. This is a powerful example of 12‑bar blues songwriting tips for building drama without changing the chords at all.

Example 7: Add a turnaround hook

Bar 11–12 is prime real estate. Many of the best examples of 12‑bar blues use a catchy turnaround lick that repeats every chorus or verse.

In A, a classic guitar turnaround might walk down from high A to E, leading your ear back to the top. You can apply the same idea vocally:

And I’m comin’ back, yeah I’m comin’ back to you…

Every verse ends with that same two‑bar phrase. Listeners latch onto it instantly.

Example 8: Mix in a bridge that breaks the rules

You don’t have to stay in 12‑bar land for the entire song.

Many modern blues‑rock songs keep the verses and choruses on a 12‑bar pattern, then break into a non‑blues bridge—maybe a four‑chord pop progression. This contrast makes the return to the 12‑bar feel even stronger.

This is a great modern example of 12‑bar blues songwriting tips in 2024–2025: use the tradition as a home base, not a prison.

Example 9: Write from a modern point of view

You don’t need to sing about freight trains and cotton fields unless that’s actually your life. Some of the most interesting recent blues‑inspired tracks talk about:

• Social media burnout
• Gig‑economy stress
• Climate anxiety
• Dating‑app heartbreak

Take the A–A–B form and plug in modern problems. For instance:

• Line 1: Scrollin’ through my phone, can’t find a real friend there
• Line 2: Yeah, scrollin’ through my phone, can’t find a real friend there
• Line 3: Got a thousand little hearts, but nobody seems to care

That’s a 2025‑ready blues verse.

How 12‑bar blues still shows up in 2024–2025

If you look at current playlists—Americana, indie rock, blues‑rock, even some pop—you’ll still find songs built on the same bones as these examples of 12‑bar blues songwriting tips: 3 essential examples.

Why it survives:

• It’s easy to learn, so it spreads.
• It’s predictable, so listeners feel at home.
• It’s flexible, so artists can bend it toward rock, soul, R&B, or country.

Music educators still rely on the 12‑bar form to teach harmony and improvisation. For instance, many university jazz programs and community music schools introduce improvisation using 12‑bar blues because the pattern is short and repeatable. You can see this approach reflected in educational resources from places like the Smithsonian’s jazz education materials and various university music departments.

If you’re looking to deepen your musical foundations more broadly, music programs at institutions like Berklee College of Music and general music‑education guidance from sites such as Arts.gov often highlight blues forms as a core building block for songwriting and improvisation.

The point: learning a few concrete examples of 12‑bar blues songwriting tips doesn’t make you old‑fashioned. It gives you a timeless, flexible toolkit you’ll hear echoed in modern tracks over and over.

FAQ: examples of 12‑bar blues songwriting questions

What are some simple examples of 12‑bar blues chord progressions?

A very simple example in A major:

• A7 | A7 | A7 | A7
• D7 | D7 | A7 | A7
• E7 | D7 | A7 | E7

A quick‑change variation:

• A7 | D7 | A7 | A7
• D7 | D7 | A7 | A7
• E7 | D7 | A7 | E7

Both are classic examples of 12‑bar blues songwriting tips in chord form.

Can you give an example of a 12‑bar blues lyric pattern I can copy?

Yes—use the A–A–B shape:

• Line 1: I’m late for work again, alarm never rang on time
• Line 2: Yeah, I’m late for work again, alarm never rang on time
• Line 3: Boss says “one more strike,” but this groove is on my mind

This is a clear, repeatable example of how to shape lyrics over the 12‑bar form.

Do all blues songs follow the 12‑bar pattern?

No. Many blues songs use variants—8‑bar, 16‑bar, or free forms. But a huge number of classic and modern tracks use something very close to the 12‑bar structure, which is why learning these examples of 12‑bar blues songwriting tips pays off across styles.

How can I practice writing my own 12‑bar blues?

Pick one key (like A or E), loop the basic progression, and force yourself to write three different verses using the A–A–B pattern. Then try adding one twist from the examples above: quick change, minor key, stop‑time, or a riff. Treat each version as a small “song sketch.”

Are there online resources with more examples of blues structure and harmony?

Yes. While they’re not focused on songwriting only, educational resources from organizations like the Smithsonian Jazz program, Arts.gov, and music schools such as Berklee College of Music often include clear breakdowns of blues forms, harmony, and historical context that can inspire your writing.

If you walk away with nothing else, keep this: these examples of 12‑bar blues songwriting tips: 3 essential examples are just starting points. Use the classic pattern to get moving, then steal freely from the quick‑change, the minor mood, the riff‑driven groove, and the modern lyrics. The structure is old; your voice isn’t. That contrast is where the magic happens.