Mi 12 Bar Blues
I – I – I – I – IV – IV – I – I – V – IV – I – V progression in Mi major
Mi 12 Bar Blues — I – I – I – I – IV – IV – I – I – V – IV – I – V
The E 12-bar blues (E – E – E – E – A – A – E – E – B – A – E – B) is the bedrock of blues, rock, and jazz — twelve bars, three chords, infinite expression. Combine the Minor Blues scale with Major Pentatonic for the classic note-bending vocabulary that defines the genre. Mixolydian fills in the gaps between pentatonic positions with diatonic color. With dominant seventh voicings (EMaj7 – EMaj7 – EMaj7 – EMaj7 – AMaj7 – AMaj7 – EMaj7 – EMaj7 – B7 – AMaj7 – EMaj7 – B7), the raw blues character comes fully alive.
Playing in Mi major
E major is arguably guitar's most powerful key. The open low E and high E strings ring sympathetically as the root, while the open B provides the fifth. This triple reinforcement gives E-based riffs and chords unmatched depth and volume. E is a beginner-level key on guitar because both the low E and high E strings ring as the root, and the open B is the fifth — three open strings reinforce the tonic chord. Beginners will find this key approachable since most chords use open voicings with minimal stretching.
Voice Leading
The bass line moves through E to E (ascending unison), E to E (ascending unison), E to E (ascending unison), E to A (ascending perfect fourth), A to A (ascending unison), A to E (descending perfect fourth), E to E (ascending unison), E to B (descending perfect fourth), B to A (descending whole step), A to E (descending perfect fourth), E to B (descending perfect fourth). The predominantly stepwise bass motion creates smooth, connected voice leading. When the progression loops, the bass returns from B to E by perfect fourth.
Capo Transposition
To play in E using familiar open chords: capo 2 with open D shapes; capo 4 with open C shapes; capo 7 with open A shapes. Choose the capo position that gives you the voicings you prefer — lower capo positions produce a fuller sound, while higher positions create a brighter, mandolin-like timbre.
Scales for Soloing
E major pentatonic works because every note is either a chord tone or a safe passing tone — there are no avoid notes. For soloing, this means you can play freely without clashing. Over dominant seventh chords, E Mixolydian adds the flat seventh for an authentic blues-rock edge.
Strumming Pattern
Use a shuffle pattern: D-u-D-u with swung eighth notes at 80-120 BPM. The triplet feel is essential — think of each beat divided into three, skipping the middle note. Add palm muting on the bass strings for a tighter groove.