watch on
The Importance of Turnarounds in Blues Music
In my previous article, I delved into the importance of turnarounds within a 12-bar blues structure. To summarize, the turnaround is found in the final two bars of the progression, serving to prepare the listener for a return to the begining of the form by summarizing the musical themes from the preceding 12 bars.
Turnarounds can also create tension between the I (one) chord and the IV (four),or when transitioning between any of the three chords in a I – IV - V (one-four-five) progression. While it’s beneficial to learn established turnarounds in blues music, don’t hesitate to create your own variations.
Exploring Turnarounds in the Key of E
Let’s continue with the key of E, which we used in last month’s examples. In E, the I – IV – V progression consists of the I chord, E, the IV chord, A, and the V chord, B. Figures 1 and 2 showcase two of my preferred turnarounds in E.
In Figure 1, starting on beat 2 of bar 1, I play a straightforward melody derived from the E minor pentatonic scale (E, G, A, B, D) that ascends and then descends, leading into the B7 chord. In Figure 2, the only variation is the addition of a trill, a rapid hammer-on/pull-off, between D and E.
These licks draw inspiration from Eddie taylor’s recordings with Jimmy Reed.
The beauty of these turnarounds lies in their adaptability; once you master them, you can embellish them with your personal style.
In Figure 3, I take the foundational elements from Figures 1 and 2, altering the trill’s placement in bar 1, and in bar 2, I reference the B7 chord using notes from the 5th and 1st strings, concluding with a slide down the low E string.
Single-note turnarounds are equally crucial; both freddie King and T-Bone Walker crafted remarkable single-note turnarounds that resonate in numerous tracks.
Figure 4 presents a single-note turnaround in E, inspired by Freddie’s style.
T-Bone favored the key of G, making it essential to practice various turnarounds in this key as well.
Figures 5 and 6 are crafted in T-Bone’s signature style, drawing from G Mixolydian (G, A, B, C, D, E, F). You can also interpret these licks as being rooted in G minor pentatonic (G, Bb, C, D, F) while incorporating the major 3rd, B, and the 9th, A.
One of Freddie’s most iconic tracks is Hideaway, where he showcases brilliant turnarounds. Figure 7 is inspired by the style used in Hideaway. pay attention to the “threes on twos” phrasing, which consists of three quarter notes played within the duration of two quarter notes.
Figure 8 illustrates the first five bars of a 12-bar blues in E. Following three bars of E5 to E6 to E7, I play ascending chords on the top three strings to prepare for the transition to A7.
Immerse yourself in learning as many turnarounds as possible, incorporating them into your solos. The joy of playing blues lies in discovering your unique voice and style.
This concludes the current series of One Guitar Woman. Thank you for your readership! For updates on my tour dates and album releases, visit SueFoley.com.
