For this example, use your boogie-woogie left hand pattern from Step two. Play the Shuffle pattern (staying on the C chord) in the left hand, and introduce increasingly complicated rhythms in the right hand, using a C6 chord in the first inversion.
You can simply transpose the voicing used for C6 to the keys of F and G, or you can try these different voicings: to make an F chord, simply lower the E to an Eb from your C6 chord. This will make an F9 chord. For a G chord, shift your fingers slightly over to f-g-b-d. Practice the hand independence exercise shown above in the new keys of F (starting the left hand pinky finger on F, and playing an F chord in the right hand) and G (starting the left hand pinky finger on G, and playing a G chord in the right hand).
You can simply transpose the voicing used for C6 to the keys of F and G, or you can try these different voicings: to make an F chord, simply lower the E to an Eb from your C6 chord. This will make an F9 chord. For a G chord, shift your fingers slightly over to f-g-b-d. Practice the hand independence exercise shown above in the new keys of F (starting the left hand pinky finger on F, and playing an F chord in the right hand) and G (starting the left hand pinky finger on G, and playing a G chord in the right hand).
An intro of this sort is usually four measures in duration and consists of going back and forth between these two chords. These four measures count as the first four measures of the 12-bar form and when the left hand comes in with the bass pattern it is on the IV chord.
