0:00:05.486,0:00:07.276
Hi, how'ya doing? Justin here.

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Welcome to lesson 9 [br]of the Blues Rhythm guitar series

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and in this lesson today, [br]we are going to be talking about turnarounds.

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Now a turnaround is the last two bars [br]of a twelve bar blues

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and there are a lots different kind[br]of chord progressions

0:00:19.462,0:00:23.224
you can use to turn the song around [br]so it goes around again.

0:00:23.224,0:00:25.349
Now sometimes it is predetermined

0:00:25.349,0:00:28.847
so specific songs have a particular turnaround [br]that it is being used

0:00:28.847,0:00:30.093
that happens most times.

0:00:30.093,0:00:32.046
Other times the band kinda get together

0:00:32.046,0:00:34.327
and decide "Hey, on this song [br]we are gonna use this."

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On other times if it is a bit on the fly [br]you have to be listening out to the bass player

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or the bass player has to be listening to you [br]

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to try and suss out[br]what turnaround is gonna happen.

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It is a lot more fun [br]when it's kind of a bit more up in the air

0:00:45.339,0:00:46.370
and you don't know what's going to happen

0:00:46.370,0:00:48.806
it can make for some interesting notes happening

0:00:48.806,0:00:52.113
but if you are aware of all of the different turnarounds

0:00:52.113,0:00:55.676
you'll probably start to pick up[br]"Oh, it feels like it's gonna be this one!"

0:00:55.676,0:00:56.950
or "it sounds like", or

0:00:56.950,0:01:00.430
"the first chord is this one [br]so it's gotta be this particular turnaround."

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So that's the idea here.

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For the backing track,[br]I have picked five of the common turnarounds

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and done them in succession. So[br]I'm going to show you those five first,

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[br]now I'm going to show you[br]some others as well,

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just in a close up and show you some different ways

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that you might approach playing them.

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As part of the Blues Lead Guitar course [br]there's also a lesson on turnarounds,

0:01:17.374,0:01:21.738
because very often the turnaround is hosted [br]by the lead guitar player.

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They play the melodic part that really says,[br]"Yeah, we're going to turnaround all",

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"Yeah, we're gonna end the tune."

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So it's important to check that[br]lesson out as well.

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And be aware that sometimes [br]there isn't a turnaround as well,

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there are quite a few tunes with the blues chord sequences I call the Long One,

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which is where the last two bars [br]of a 12 bar blues sequence

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just play the 1 chord for the whole two bars.

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In that case it's usually down to the drummer [br]to make some sort of fill thing that says,

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"Hey, we're finishing the tune [br]and going back around again"

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It's quite often that that happens.

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Don't think that it's uncommon for there [br]to be not a turnaround.

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It is probably more common[br]for there to be one, [br]

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and that's why we're gonna do this lesson.

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That's enough rambling from me,

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let's get to a close up [br]and check out how to play some.

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The lesson today is going to be based in the[br]key of D. So just to refresh your memory

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we've got D here, is the 1 chord,

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G at the third fret there is the 4 chord,

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and A at the 5th fret - 6th string[br]root of course - is the 5 chord.

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♪

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Just playing through a regular blues.

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♪

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Just so you're 100% sure[br]where the turnaround is.

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♪

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There's the bit with the 5 chord.

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♪

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To the 4 chord.

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♪

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And now is where the turnaround is.[br]What I'm going to be showing you now

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are things to go at this point in the blues.[br]The last two bars of a 12 bar blues.

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One of the most common is just to put the[br]5 chord at the end for two beats.

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So we'd have[br]1, 2, 3, 4, 1, 2, & 3 & 4, & 1.

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Just literally that & 4 & 1.

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Again, the last two bars [br]of the Blues in D, 3 4,

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is D 2 3 4, 1 2 3 4.

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So it can just move over just for those[br]last two beats of the whole sequence,

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just moves over to the 5 chord,

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then we're back to the 1 chord, right away

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This is really common, particularly[br]like earlier Blues stuff,

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it's more common than any other one.

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So, be aware of that one first of all.

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Now the second one in our sequence for[br]the backing track, is a little climb-up.

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Which is again really popular, it happens[br]in the second bar of our two bar sequence.

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So we have one bar of D,[br]the second bar goes

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♪

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I'm sure you've heard that before, it's a[br]really common little sequence again.

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1 2 3 4 1 & 2 & 3 4

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1 2 3 4 1 & 2 & 3 4

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It doesn't always have to be with the chunka-chunka thing, by the way, it could be:

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♪

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It could use:

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♪

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That was a little 9th chord.

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You can do all sorts of things, I'm just[br]using a chunka-chunka as an example.

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But you could use any[br]different type of sequence [br]

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that we've been looking at[br]so far to get:

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♪

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is a little two note there,[br]if you want:

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♪

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There's really infinite number of ways of using each of these different things.

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That's the one I normally call it the climb,[br]and we're going to put a climb at the end

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in the turnaround, would be the kind of thing[br]that you'd ask your bass player.

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So that would be a little climb.

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Now the 3rd one we've got here[br]is a variation on the two really, where we go:

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1

0:05:07.654,0:05:09.280
4

0:05:09.280,0:05:10.759
1

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5

0:05:13.148,0:05:14.403
And then we starting the sequence again.

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This is a very common little sequence.

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1

0:05:19.356,0:05:20.226
4

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1

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5

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Could be played.

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♪

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or

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♪

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Again, loads of different ways.

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♪

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All the same thing, just as long as it's

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1

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4

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1

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5

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I'd recommend most of these runs just doing a regular chunka-chunka.

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♪

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Just to get used to[br]what the chord changes are.

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It's a nice easy way of[br]looking at it to start off with,

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then worry about jazzing all of the chords up,[br]if you like that kind of style.

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So the next one, which is number 4,[br]is what's called a 1, 6, 2, 5.

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Again this has kind of got it's roots in Jazz,[br]I guess. You kind of get this:

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♪

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This kind of effect, but it does happen[br]even in a chunka-chunka:

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♪

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It does happen like that, [br]using a regular kind of Blues progressions.

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So this one, whether it is the[br]1, 6, 2, 5 of the scale.[br]

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Now you know that[br]our Blues so far is just 1, 4, and 5.

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If that's 4, 5, there's 6. If that's 1, there's 2.[br]So that's where you can think:

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1

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6

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2

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5

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♪

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And again, make sure that you check out,-[br]I'm sure you're going to already, 'cause I know

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that you're conscientious about[br]making sure that you'll get

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everything with your 5th string root and 6th string root, aren't you?

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So make sure that you figure out where

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1

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6

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2

0:07:15.803,0:07:16.519
5

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Is going to be if we started up here.

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1

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6

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2

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5

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or 1

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6

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2

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5

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1

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Hey, might recognize

0:07:29.951,0:07:33.518
♪

0:07:33.518,0:07:38.086
That I talked about in the little lesson that where we looked at the little mini grips.

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That's another really common sequence that you might want to try out.

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And the last one I'm showing you is a 1, flat 3, to flat 2 sequence.

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Which is a chromatic thing, there's some fancier reasons to do with chord substitutions,

0:07:53.942,0:07:55.749
that we can get into at another time,

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but for now I think you should just keep it simple and playing,

0:08:00.666,0:08:02.006
1

0:08:02.006,0:08:04.187
move up three frets

0:08:04.187,0:08:05.963
back

0:08:05.963,0:08:07.200
back 1

0:08:07.200,0:08:09.042
and then we're back at the middle.

0:08:09.042,0:08:10.497
And you can use either chord.

0:08:10.497,0:08:17.849
♪

0:08:17.849,0:08:20.100
That kind of thing if you're doing it in chords. Or it could be

0:08:20.100,0:08:27.215
♪

0:08:27.215,0:08:30.866
It can be chunka-chunka, all of these things, they can be fancy chords,

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or they can be a regular power chord chunka-chunka thing, whatever you want to do.

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It's important you explore all of those different ideas, it's not just one thing or the other.

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So that's all of the ones that are used on the backing track.

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Remember, there are charts on the web site which will help you remember

0:08:47.660,0:08:51.701
the order of them on the backing track, and exactly what chords are in what ones.

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So I'd highly recommend that you go to the web site and check that out,

0:08:53.795,0:08:56.315
it really will make life a lot easier for you.

0:08:56.315,0:08:59.380
There are some other kind of turnarounds that are pretty common,

0:08:59.380,0:09:02.774
and sound pretty cool, I couldn't fit them all on the backing track, so

0:09:02.774,0:09:06.949
I thought I'd show them to you anyway and you can apply them to other backing tracks

0:09:06.949,0:09:09.921
from this series, or just jam around with them with your mates or whatever.

0:09:09.921,0:09:14.874
So the first one is kind of this descending line, often played by a bass player,

0:09:14.874,0:09:18.636
but it sounds pretty cool on guitar as well. It's just these notes.

0:09:18.636,0:09:28.124
♪

0:09:28.124,0:09:29.796
You can play it as power chords as well, if you like.

0:09:29.796,0:09:33.262
What we're doing is starting[br]with the root note.

0:09:33.262,0:09:38.015
Moving down a tone. And then chromatically down to the 5 chord.

0:09:38.015,0:09:40.506
Which in this key is the key of A.

0:09:40.506,0:09:43.066
I know you're gonna do your homework and transfer it over to the

0:09:43.066,0:09:45.863
6th string root stuff as well,[br]and figure out how to play each one.

0:09:45.863,0:09:48.899
Of course you could move down a tone,

0:09:48.899,0:09:55.691
but move to the C here.[br]So from C to D, instead go D to C.

0:09:55.691,0:10:00.057
♪

0:10:00.057,0:10:03.537
This is a really common little sequence.[br]Like I said, often the guitar will just do this.

0:10:03.537,0:10:05.608
♪

0:10:05.608,0:10:06.854
And the bass player will have the,

0:10:06.854,0:10:11.853
bum, bum, bah, bah, bumpa, bumpa[br]that kind of thing.

0:10:11.853,0:10:13.617
I think it's a cool

0:10:13.617,0:10:19.037
♪

0:10:19.037,0:10:23.182
So that's the first one of the extras.[br]Now the second one is just playing the chord.

0:10:23.182,0:10:26.433
Now I know it's like, "What do you mean?[br]That's pretty easy."

0:10:26.433,0:10:27.501
But if you get like a real:

0:10:27.501,0:10:30.785
♪

0:10:30.785,0:10:34.669
Often if it's a chunka-chunka chunka thing, a chunka-chunka chunka-chunka,

0:10:34.669,0:10:36.764
you've got an to extra chunka in there.

0:10:36.764,0:10:39.344
If you're doing this kind of thing[br]and it gets to the 5 chord,

0:10:39.344,0:10:43.184
you don't always want to[br]keep going with your chunkas.

0:10:43.184,0:10:45.658
You might want to just end up[br]playing the chord.

0:10:45.658,0:10:48.663
As I'm going to do when we get[br]to the chunkas on this bit.

0:10:48.663,0:10:52.286
♪

0:10:52.286,0:10:53.135
Here you

0:10:53.135,0:10:57.453
♪

0:10:57.453,0:10:59.003
Just for that one bit.

0:10:59.003,0:11:01.945
♪

0:11:01.945,0:11:04.512
Going to the full chord. If you've got a fifth string root,

0:11:04.512,0:11:05.632
you might use a 9th chord, or

0:11:05.632,0:11:08.214
might've used the 9th[br]chord here with the 6th string root.

0:11:08.214,0:11:11.060
Up to you of course, and that's[br]part of the game, it's your choice.

0:11:11.060,0:11:15.320
But I think it's important to realize that[br]can be a valid turnaround,

0:11:15.320,0:11:18.164
just switching from doing this kind of thing.

0:11:18.164,0:11:22.236
♪

0:11:22.236,0:11:26.408
To bit of a strummy thing on a chord,[br]it can sound pretty funky, I reckon.

0:11:26.408,0:11:27.534
That's a good one.

0:11:27.534,0:11:33.964
Now the next one I'm going to show you is[br]related to this line going down.

0:11:33.964,0:11:41.764
♪

0:11:41.764,0:11:43.883
Because often the bass will go up.

0:11:43.883,0:11:51.178
♪

0:11:51.178,0:11:52.691
And this is what I was going to show you.

0:11:52.691,0:11:56.157
♪

0:11:56.157,0:11:57.863
Just because I think it sounds cool.

0:11:57.863,0:12:02.446
♪

0:12:02.446,0:12:03.765
From the D.

0:12:03.765,0:12:04.565
1

0:12:04.565,0:12:05.347
2

0:12:05.347,0:12:06.017
3

0:12:06.017,0:12:06.736
4

0:12:06.736,0:12:08.204
1

0:12:08.204,0:12:09.523
And then we're on the A.

0:12:09.523,0:12:10.206
♪

0:12:10.206,0:12:11.738
D

0:12:11.738,0:12:14.794
So we've just got our first finger[br]on the 4th fret,

0:12:14.794,0:12:16.746
little finger on the 7th fret, [br]which is the root note.

0:12:16.746,0:12:19.518
♪

0:12:19.518,0:12:22.359
Use whatever fingers you like there,[br]it doesn't...

0:12:22.359,0:12:25.659
seams to be that I changed[br]depending on what day it is.

0:12:25.659,0:12:27.769
♪

0:12:27.769,0:12:28.743
Experiment with that.

0:12:28.743,0:12:31.777
Of course if you use your little finger on the root note

0:12:31.777,0:12:33.605
the same idea will work fine up here.

0:12:33.605,0:12:36.562
♪

0:12:36.562,0:12:37.257
So you could have.

0:12:37.257,0:12:44.444
♪

0:12:44.444,0:12:45.996
You can have it up there too.

0:12:45.996,0:12:52.907
♪

0:12:52.907,0:12:55.247
So I think that's a pretty funky little number.

0:12:55.247,0:12:59.126
A little more interesting than the standard one.

0:12:59.126,0:13:01.418
There's one even more interesting idea

0:13:01.418,0:13:04.108
that I'm gonna share with you[br]on this to explore on your own.

0:13:04.108,0:13:10.568
But the last one I want to go through[br]with you properly is a sharp 5 to the 5.

0:13:10.568,0:13:11.601
Which is a real common . . .

0:13:11.601,0:13:19.945
♪

0:13:19.945,0:13:26.879
Again, just doing a chord, and moving it from the 5 chord and moving up one fret

0:13:26.879,0:13:28.477
♪

0:13:28.477,0:13:29.113
and back down again.

0:13:29.113,0:13:35.255
♪

0:13:35.255,0:13:36.757
And off you go.

0:13:36.757,0:13:43.010
Now the last idea is quite a biggie, and I just want to explain the idea to you,

0:13:43.010,0:13:45.905
and then let you run around with it a little bit.

0:13:45.905,0:13:49.076
The first thing is to realize that we had[br]this descending line,

0:13:49.076,0:13:53.072
♪

0:13:53.072,0:13:55.852
Which worked in the turnaround[br]to get to A7.

0:13:55.852,0:13:57.328
Then we also saw that we had,

0:13:57.328,0:14:00.950
♪

0:14:00.950,0:14:04.148
this ascending line. But what would[br]happen if you did the two together?

0:14:04.148,0:14:06.878
So if you're here, one went up,[br]one went down,

0:14:06.878,0:14:10.341
and then this one continues going down,

0:14:10.341,0:14:15.699
this one continues going up,[br]and that one continues going up,

0:14:15.699,0:14:18.969
we end up with this really cool idea[br]called contrary motion.

0:14:18.969,0:14:24.802
♪

0:14:24.802,0:14:29.093
And this idea is a real funky one.[br]There's one of my favorite little pet licks for

0:14:29.093,0:14:31.663
♪

0:14:31.663,0:14:32.458
One going down,

0:14:32.458,0:14:34.312
♪

0:14:34.312,0:14:35.056
one going up.

0:14:35.056,0:14:41.436
♪

0:14:41.436,0:14:43.194
I really like the sound of that.

0:14:43.194,0:14:46.011
Just as a little idea, why don't you see how many different ways

0:14:46.011,0:14:49.396
you can figure out of playing this. Having one line going down,

0:14:49.396,0:14:50.730
which would be the notes

0:14:50.730,0:14:51.105
D

0:14:51.105,0:14:52.122
C

0:14:52.122,0:14:53.114
B

0:14:53.114,0:14:54.024
B flat

0:14:54.024,0:14:55.541
Leading to A

0:14:55.541,0:14:56.622
and the other one going

0:14:56.622,0:14:57.317
D

0:14:57.317,0:14:59.050
up to F sharp

0:14:59.050,0:14:59.834
G

0:14:59.834,0:15:00.971
G sharp

0:15:00.971,0:15:02.475
A

0:15:02.475,0:15:05.478
It's just a fun little game for yourselves to play

0:15:05.478,0:15:09.299
♪

0:15:09.299,0:15:13.433
as a little exercise on the guitar, it could keep you occupied for an afternoon,

0:15:13.433,0:15:16.542
and give you some really cool fun licks.

0:15:16.542,0:15:20.443
Like with nearly everything on guitar the most important thing here is to put it into practice.

0:15:20.443,0:15:23.200
So make sure that you muck around with each of the different turnarounds,

0:15:23.200,0:15:27.720
get as many of them as you can to memory, and most importantly, make sure you can play

0:15:27.720,0:15:30.126
all of the ones that I'd shown you[br]with the sixth string root.

0:15:30.126,0:15:32.587
At the moment we've done all of them with the fifth string root,

0:15:32.587,0:15:35.801
I'm not going to show you the sixth string root ones. I want you to try to figure them all out.

0:15:35.801,0:15:40.716
It's not difficult, and if it is difficult, you need to sort it out, and make sure

0:15:40.716,0:15:43.148
that you learn how to do it,[br]so it's not difficult any more.

0:15:43.148,0:15:46.647
It's something I think it's an essential[br]bit of your knowledge

0:15:46.647,0:15:49.128
that you need to fill in,[br]if you can't do that.

0:15:49.128,0:15:53.894
And the other really important thing to do at this stage as well is to listen to some blues,

0:15:53.894,0:15:56.479
and make sure you can[br]spot the different turnarounds.

0:15:56.479,0:15:58.826
Get some great blues records that you like,

0:15:58.826,0:16:01.566
some Muddy Waters, or Stones,[br]or Howlin' Wolf, or whatever,

0:16:01.566,0:16:03.801
and check out the different turnarounds[br]and suss out and go:

0:16:03.801,0:16:05.876
"Oh, he's used that turnaround there."

0:16:05.876,0:16:09.173
And then see if they do the same turnaround through the whole song,

0:16:09.173,0:16:10.722
and does it make it part of the song?

0:16:10.722,0:16:14.298
That's a really good way of developing your repertoire a bit, and making sure,

0:16:14.298,0:16:18.693
you learn the correct chord progressions for each different 12 bar blues.

0:16:18.693,0:16:22.176
Because when I was growing up I always just thought: "oh, it's a 12 bar blues"

0:16:22.176,0:16:24.235
and they're all the same[br]and you can do what you like.

0:16:24.235,0:16:28.150
But as I studied a bit more, I found[br]that's not the case at all.

0:16:28.150,0:16:32.345
They are quite distinct, and the guys that caught them real good, whether it'is

0:16:32.345,0:16:34.526
Stevie Ray Vaughn, or The Rolling Stones,

0:16:34.526,0:16:38.546
or whatever, any of the more modern[br]"white" guitar players.

0:16:38.546,0:16:44.372
If you listen to them play older songs, you hear that they've really absorbed it properly.

0:16:44.372,0:16:47.593
They've learned exactly what the chord progressions are and the right way it was played.

0:16:47.593,0:16:52.749
Probably my favorite example is The Rolling Stones playing Little Red Rooster.

0:16:52.749,0:16:56.523
If you find the original version of that one, which I believe is a Howlin' Wolf one,

0:16:56.523,0:17:00.131
there's a mistake in the chord,[br]where the bass doesn't

0:17:00.131,0:17:03.196
go to the chord at the same time, and then the whole band jumps over.

0:17:03.196,0:17:04.906
And they've copied that in their version.

0:17:04.906,0:17:10.504
I just thought it was a mistake, but it wasn't and they've copied it, and they've learned it really well.

0:17:10.504,0:17:15.967
So let me play you out with a backing track, and remember the chart is on the web site,

0:17:15.967,0:17:18.466
that's going to make it[br]a lot easier for you if you use that.

0:17:18.466,0:17:20.653
And I'll see you for another lesson very soon.

0:17:20.653,0:17:23.451
Take care of yourselves.[br]Bye bye.