A blues is short enough to count and it repeats, which is what makes it possible to read one bar by bar. This page and the four under it do exactly that. Each form is declared once, as scale degrees rather than chord names, so it has no key of its own: the tables are computed from that declaration in whichever key you choose, and a guard recomputes every cell from raw arithmetic before any of it ships.
The reading asks one question of every bar: where do the six notes of the blues scale land against the chord that bar holds? A note can be a chord tone, one of the four notes of the dominant seventh the band is playing. It can be colour, the ninth or the thirteenth, the two tensions a dominant seventh takes without altering anything. Or it can be a rub: a note sitting a semitone against one the chord is holding. A rub is not a wrong note. It is the sound the style leans on, most famously the flat third, the blue note bent or sung against the major third the band is holding underneath it.
Because the chord moves and the scale does not, the same note changes class from bar to bar. The flat third rubs over the home chord and over the dominant, and becomes the chord's own flat seventh the moment the subdominant arrives. The flat fifth rubs in every bar of every form. The fifth of the key never rubs at all. None of that is typed onto these pages; it falls out of the arithmetic, and the counts below come from the same place.
Where the forms come from
Each form carries the published reference it was read from, printed under its own table, and a form that could not be checked against one is not here. The minor blues and the jazz blues are Jazz Warrior's to declare and are not repeated. Every bar is a dominant seventh, because that is how the blues commonly plays all three of its chords; the rule that sorts the notes is therefore the same in every bar, and it is set out in full below, rows that never fill included.