1 00:00:05,486 --> 00:00:07,276 Hi, how'ya doing? Justin here. 2 00:00:07,276 --> 00:00:10,115 Welcome to lesson 9 of the Blues Rhythm guitar series 3 00:00:10,115 --> 00:00:13,380 and in this lesson today, we are going to be talking about turnarounds. 4 00:00:13,380 --> 00:00:17,280 Now a turnaround is the last two bars of a twelve bar blues 5 00:00:17,280 --> 00:00:19,462 and there are a lots different kind of chord progressions 6 00:00:19,462 --> 00:00:23,224 you can use to turn the song around so it goes around again. 7 00:00:23,224 --> 00:00:25,349 Now sometimes it is predetermined 8 00:00:25,349 --> 00:00:28,847 so specific songs have a particular turnaround that it is being used 9 00:00:28,847 --> 00:00:30,093 that happens most times. 10 00:00:30,093 --> 00:00:32,046 Other times the band kinda get together 11 00:00:32,046 --> 00:00:34,327 and decide "Hey, on this song we are gonna use this." 12 00:00:34,327 --> 00:00:38,181 On other times if it is a bit on the fly you have to be listening out to the bass player 13 00:00:38,181 --> 00:00:39,550 or the bass player has to be listening to you 14 00:00:39,550 --> 00:00:42,209 to try and suss out what turnaround is gonna happen. 15 00:00:42,209 --> 00:00:45,339 It is a lot more fun when it's kind of a bit more up in the air 16 00:00:45,339 --> 00:00:46,370 and you don't know what's going to happen 17 00:00:46,370 --> 00:00:48,806 it can make for some interesting notes happening 18 00:00:48,806 --> 00:00:52,113 but if you are aware of all of the different turnarounds 19 00:00:52,113 --> 00:00:55,676 you'll probably start to pick up "Oh, it feels like it's gonna be this one!" 20 00:00:55,676 --> 00:00:56,950 or "it sounds like", or 21 00:00:56,950 --> 00:01:00,430 "the first chord is this one so it's gotta be this particular turnaround." 22 00:01:00,430 --> 00:01:02,068 So that's the idea here. 23 00:01:02,068 --> 00:01:05,454 For the backing track, I have picked five of the common turnarounds 24 00:01:05,454 --> 00:01:08,447 and done them in succession. So I'm going to show you those five first, 25 00:01:08,447 --> 00:01:10,142 now I'm going to show you some others as well, 26 00:01:10,142 --> 00:01:12,002 just in a close up and show you some different ways 27 00:01:12,002 --> 00:01:13,381 that you might approach playing them. 28 00:01:13,381 --> 00:01:17,374 As part of the Blues Lead Guitar course there's also a lesson on turnarounds, 29 00:01:17,374 --> 00:01:21,738 because very often the turnaround is hosted by the lead guitar player. 30 00:01:21,738 --> 00:01:25,660 They play the melodic part that really says, "Yeah, we're going to turnaround all", 31 00:01:25,660 --> 00:01:26,962 "Yeah, we're gonna end the tune." 32 00:01:26,962 --> 00:01:29,971 So it's important to check that lesson out as well. 33 00:01:29,971 --> 00:01:33,028 And be aware that sometimes there isn't a turnaround as well, 34 00:01:33,028 --> 00:01:37,307 there are quite a few tunes with the blues chord sequences I call the Long One, 35 00:01:37,307 --> 00:01:41,239 which is where the last two bars of a 12 bar blues sequence 36 00:01:41,239 --> 00:01:43,147 just play the 1 chord for the whole two bars. 37 00:01:43,147 --> 00:01:47,845 In that case it's usually down to the drummer to make some sort of fill thing that says, 38 00:01:47,845 --> 00:01:51,115 "Hey, we're finishing the tune and going back around again" 39 00:01:51,115 --> 00:01:52,768 It's quite often that that happens. 40 00:01:52,768 --> 00:01:56,560 Don't think that it's uncommon for there to be not a turnaround. 41 00:01:56,560 --> 00:01:59,469 It is probably more common for there to be one, 42 00:01:59,469 --> 00:02:00,749 and that's why we're gonna do this lesson. 43 00:02:00,749 --> 00:02:02,309 That's enough rambling from me, 44 00:02:02,309 --> 00:02:04,517 let's get to a close up and check out how to play some. 45 00:02:05,317 --> 00:02:09,274 The lesson today is going to be based in the key of D. So just to refresh your memory 46 00:02:09,274 --> 00:02:11,600 we've got D here, is the 1 chord, 47 00:02:11,600 --> 00:02:15,252 G at the third fret there is the 4 chord, 48 00:02:15,252 --> 00:02:19,072 and A at the 5th fret - 6th string root of course - is the 5 chord. 49 00:02:19,072 --> 00:02:27,646 ♪ 50 00:02:27,646 --> 00:02:29,875 Just playing through a regular blues. 51 00:02:29,875 --> 00:02:31,967 ♪ 52 00:02:31,967 --> 00:02:34,692 Just so you're 100% sure where the turnaround is. 53 00:02:34,692 --> 00:02:38,362 ♪ 54 00:02:38,362 --> 00:02:40,835 There's the bit with the 5 chord. 55 00:02:40,835 --> 00:02:43,454 ♪ 56 00:02:43,454 --> 00:02:45,213 To the 4 chord. 57 00:02:45,213 --> 00:02:46,586 ♪ 58 00:02:46,586 --> 00:02:51,153 And now is where the turnaround is. What I'm going to be showing you now 59 00:02:51,153 --> 00:02:56,129 are things to go at this point in the blues. The last two bars of a 12 bar blues. 60 00:02:56,129 --> 00:03:02,833 One of the most common is just to put the 5 chord at the end for two beats. 61 00:03:02,833 --> 00:03:09,535 So we'd have 1, 2, 3, 4, 1, 2, & 3 & 4, & 1. 62 00:03:09,535 --> 00:03:12,709 Just literally that & 4 & 1. 63 00:03:12,709 --> 00:03:16,795 Again, the last two bars of the Blues in D, 3 4, 64 00:03:16,795 --> 00:03:22,928 is D 2 3 4, 1 2 3 4. 65 00:03:22,928 --> 00:03:28,651 So it can just move over just for those last two beats of the whole sequence, 66 00:03:28,651 --> 00:03:30,320 just moves over to the 5 chord, 67 00:03:30,320 --> 00:03:32,297 then we're back to the 1 chord, right away 68 00:03:32,297 --> 00:03:35,800 This is really common, particularly like earlier Blues stuff, 69 00:03:35,800 --> 00:03:38,879 it's more common than any other one. 70 00:03:38,879 --> 00:03:41,001 So, be aware of that one first of all. 71 00:03:41,001 --> 00:03:46,870 Now the second one in our sequence for the backing track, is a little climb-up. 72 00:03:46,870 --> 00:03:52,488 Which is again really popular, it happens in the second bar of our two bar sequence. 73 00:03:52,488 --> 00:03:55,562 So we have one bar of D, the second bar goes 74 00:03:55,562 --> 00:03:57,380 ♪ 75 00:03:57,380 --> 00:04:01,234 I'm sure you've heard that before, it's a really common little sequence again. 76 00:04:01,234 --> 00:04:06,650 1 2 3 4 1 & 2 & 3 4 77 00:04:06,650 --> 00:04:13,058 1 2 3 4 1 & 2 & 3 4 78 00:04:13,058 --> 00:04:16,618 It doesn't always have to be with the chunka-chunka thing, by the way, it could be: 79 00:04:16,618 --> 00:04:21,287 ♪ 80 00:04:21,287 --> 00:04:22,047 It could use: 81 00:04:22,047 --> 00:04:25,414 ♪ 82 00:04:25,414 --> 00:04:26,708 That was a little 9th chord. 83 00:04:26,708 --> 00:04:30,890 You can do all sorts of things, I'm just using a chunka-chunka as an example. 84 00:04:30,890 --> 00:04:33,696 But you could use any different type of sequence 85 00:04:33,696 --> 00:04:35,796 that we've been looking at so far to get: 86 00:04:35,796 --> 00:04:38,283 ♪ 87 00:04:38,283 --> 00:04:40,659 is a little two note there, if you want: 88 00:04:40,659 --> 00:04:45,362 ♪ 89 00:04:45,362 --> 00:04:50,675 There's really infinite number of ways of using each of these different things. 90 00:04:50,675 --> 00:04:54,406 That's the one I normally call it the climb, and we're going to put a climb at the end 91 00:04:54,406 --> 00:04:57,937 in the turnaround, would be the kind of thing that you'd ask your bass player. 92 00:04:57,937 --> 00:05:00,487 So that would be a little climb. 93 00:05:00,487 --> 00:05:06,060 Now the 3rd one we've got here is a variation on the two really, where we go: 94 00:05:06,060 --> 00:05:07,654 1 95 00:05:07,654 --> 00:05:09,280 4 96 00:05:09,280 --> 00:05:10,759 1 97 00:05:10,759 --> 00:05:13,148 5 98 00:05:13,148 --> 00:05:14,403 And then we starting the sequence again. 99 00:05:14,403 --> 00:05:18,681 This is a very common little sequence. 100 00:05:18,681 --> 00:05:19,356 1 101 00:05:19,356 --> 00:05:20,226 4 102 00:05:20,226 --> 00:05:21,891 1 103 00:05:21,891 --> 00:05:22,601 5 104 00:05:22,601 --> 00:05:23,565 Could be played. 105 00:05:23,565 --> 00:05:28,615 ♪ 106 00:05:28,615 --> 00:05:29,498 or 107 00:05:29,498 --> 00:05:36,890 ♪ 108 00:05:36,890 --> 00:05:38,917 Again, loads of different ways. 109 00:05:38,917 --> 00:05:44,949 ♪ 110 00:05:44,949 --> 00:05:46,806 All the same thing, just as long as it's 111 00:05:46,806 --> 00:05:48,009 1 112 00:05:48,009 --> 00:05:49,013 4 113 00:05:49,013 --> 00:05:50,115 1 114 00:05:50,115 --> 00:05:51,294 5 115 00:05:51,294 --> 00:05:54,262 I'd recommend most of these runs just doing a regular chunka-chunka. 116 00:05:54,262 --> 00:05:55,925 ♪ 117 00:05:55,925 --> 00:05:58,399 Just to get used to what the chord changes are. 118 00:05:58,399 --> 00:06:00,984 It's a nice easy way of looking at it to start off with, 119 00:06:00,984 --> 00:06:04,871 then worry about jazzing all of the chords up, if you like that kind of style. 120 00:06:04,871 --> 00:06:11,295 So the next one, which is number 4, is what's called a 1, 6, 2, 5. 121 00:06:11,295 --> 00:06:15,366 Again this has kind of got it's roots in Jazz, I guess. You kind of get this: 122 00:06:15,366 --> 00:06:19,228 ♪ 123 00:06:19,228 --> 00:06:22,006 This kind of effect, but it does happen even in a chunka-chunka: 124 00:06:22,006 --> 00:06:29,621 ♪ 125 00:06:29,621 --> 00:06:34,265 It does happen like that, using a regular kind of Blues progressions. 126 00:06:34,265 --> 00:06:39,291 So this one, whether it is the 1, 6, 2, 5 of the scale. 127 00:06:39,291 --> 00:06:43,691 Now you know that our Blues so far is just 1, 4, and 5. 128 00:06:43,691 --> 00:06:49,730 If that's 4, 5, there's 6. If that's 1, there's 2. So that's where you can think: 129 00:06:49,730 --> 00:06:51,061 1 130 00:06:51,061 --> 00:06:52,287 6 131 00:06:52,287 --> 00:06:53,586 2 132 00:06:53,586 --> 00:06:54,975 5 133 00:06:54,975 --> 00:07:02,684 ♪ 134 00:07:02,684 --> 00:07:05,726 And again, make sure that you check out,- I'm sure you're going to already, 'cause I know 135 00:07:05,726 --> 00:07:08,390 that you're conscientious about making sure that you'll get 136 00:07:08,390 --> 00:07:11,278 everything with your 5th string root and 6th string root, aren't you? 137 00:07:11,278 --> 00:07:13,628 So make sure that you figure out where 138 00:07:13,628 --> 00:07:14,219 1 139 00:07:14,219 --> 00:07:14,915 6 140 00:07:14,915 --> 00:07:15,803 2 141 00:07:15,803 --> 00:07:16,519 5 142 00:07:16,519 --> 00:07:19,042 Is going to be if we started up here. 143 00:07:19,042 --> 00:07:19,731 1 144 00:07:19,731 --> 00:07:20,697 6 145 00:07:20,697 --> 00:07:21,559 2 146 00:07:21,559 --> 00:07:22,589 5 147 00:07:22,589 --> 00:07:23,632 or 1 148 00:07:23,634 --> 00:07:24,893 6 149 00:07:24,893 --> 00:07:25,835 2 150 00:07:25,835 --> 00:07:26,853 5 151 00:07:26,853 --> 00:07:28,810 1 152 00:07:28,810 --> 00:07:29,951 Hey, might recognize 153 00:07:29,951 --> 00:07:33,518 ♪ 154 00:07:33,518 --> 00:07:38,086 That I talked about in the little lesson that where we looked at the little mini grips. 155 00:07:38,086 --> 00:07:43,803 That's another really common sequence that you might want to try out. 156 00:07:43,803 --> 00:07:48,729 And the last one I'm showing you is a 1, flat 3, to flat 2 sequence. 157 00:07:48,729 --> 00:07:53,942 Which is a chromatic thing, there's some fancier reasons to do with chord substitutions, 158 00:07:53,942 --> 00:07:55,749 that we can get into at another time, 159 00:07:55,749 --> 00:08:00,666 but for now I think you should just keep it simple and playing, 160 00:08:00,666 --> 00:08:02,006 1 161 00:08:02,006 --> 00:08:04,187 move up three frets 162 00:08:04,187 --> 00:08:05,963 back 163 00:08:05,963 --> 00:08:07,200 back 1 164 00:08:07,200 --> 00:08:09,042 and then we're back at the middle. 165 00:08:09,042 --> 00:08:10,497 And you can use either chord. 166 00:08:10,497 --> 00:08:17,849 ♪ 167 00:08:17,849 --> 00:08:20,100 That kind of thing if you're doing it in chords. Or it could be 168 00:08:20,100 --> 00:08:27,215 ♪ 169 00:08:27,215 --> 00:08:30,866 It can be chunka-chunka, all of these things, they can be fancy chords, 170 00:08:30,866 --> 00:08:36,052 or they can be a regular power chord chunka-chunka thing, whatever you want to do. 171 00:08:36,052 --> 00:08:42,211 It's important you explore all of those different ideas, it's not just one thing or the other. 172 00:08:42,211 --> 00:08:45,170 So that's all of the ones that are used on the backing track. 173 00:08:45,170 --> 00:08:47,660 Remember, there are charts on the web site which will help you remember 174 00:08:47,660 --> 00:08:51,701 the order of them on the backing track, and exactly what chords are in what ones. 175 00:08:51,701 --> 00:08:53,795 So I'd highly recommend that you go to the web site and check that out, 176 00:08:53,795 --> 00:08:56,315 it really will make life a lot easier for you. 177 00:08:56,315 --> 00:08:59,380 There are some other kind of turnarounds that are pretty common, 178 00:08:59,380 --> 00:09:02,774 and sound pretty cool, I couldn't fit them all on the backing track, so 179 00:09:02,774 --> 00:09:06,949 I thought I'd show them to you anyway and you can apply them to other backing tracks 180 00:09:06,949 --> 00:09:09,921 from this series, or just jam around with them with your mates or whatever. 181 00:09:09,921 --> 00:09:14,874 So the first one is kind of this descending line, often played by a bass player, 182 00:09:14,874 --> 00:09:18,636 but it sounds pretty cool on guitar as well. It's just these notes. 183 00:09:18,636 --> 00:09:28,124 ♪ 184 00:09:28,124 --> 00:09:29,796 You can play it as power chords as well, if you like. 185 00:09:29,796 --> 00:09:33,262 What we're doing is starting with the root note. 186 00:09:33,262 --> 00:09:38,015 Moving down a tone. And then chromatically down to the 5 chord. 187 00:09:38,015 --> 00:09:40,506 Which in this key is the key of A. 188 00:09:40,506 --> 00:09:43,066 I know you're gonna do your homework and transfer it over to the 189 00:09:43,066 --> 00:09:45,863 6th string root stuff as well, and figure out how to play each one. 190 00:09:45,863 --> 00:09:48,899 Of course you could move down a tone, 191 00:09:48,899 --> 00:09:55,691 but move to the C here. So from C to D, instead go D to C. 192 00:09:55,691 --> 00:10:00,057 ♪ 193 00:10:00,057 --> 00:10:03,537 This is a really common little sequence. Like I said, often the guitar will just do this. 194 00:10:03,537 --> 00:10:05,608 ♪ 195 00:10:05,608 --> 00:10:06,854 And the bass player will have the, 196 00:10:06,854 --> 00:10:11,853 bum, bum, bah, bah, bumpa, bumpa that kind of thing. 197 00:10:11,853 --> 00:10:13,617 I think it's a cool 198 00:10:13,617 --> 00:10:19,037 ♪ 199 00:10:19,037 --> 00:10:23,182 So that's the first one of the extras. Now the second one is just playing the chord. 200 00:10:23,182 --> 00:10:26,433 Now I know it's like, "What do you mean? That's pretty easy." 201 00:10:26,433 --> 00:10:27,501 But if you get like a real: 202 00:10:27,501 --> 00:10:30,785 ♪ 203 00:10:30,785 --> 00:10:34,669 Often if it's a chunka-chunka chunka thing, a chunka-chunka chunka-chunka, 204 00:10:34,669 --> 00:10:36,764 you've got an to extra chunka in there. 205 00:10:36,764 --> 00:10:39,344 If you're doing this kind of thing and it gets to the 5 chord, 206 00:10:39,344 --> 00:10:43,184 you don't always want to keep going with your chunkas. 207 00:10:43,184 --> 00:10:45,658 You might want to just end up playing the chord. 208 00:10:45,658 --> 00:10:48,663 As I'm going to do when we get to the chunkas on this bit. 209 00:10:48,663 --> 00:10:52,286 ♪ 210 00:10:52,286 --> 00:10:53,135 Here you 211 00:10:53,135 --> 00:10:57,453 ♪ 212 00:10:57,453 --> 00:10:59,003 Just for that one bit. 213 00:10:59,003 --> 00:11:01,945 ♪ 214 00:11:01,945 --> 00:11:04,512 Going to the full chord. If you've got a fifth string root, 215 00:11:04,512 --> 00:11:05,632 you might use a 9th chord, or 216 00:11:05,632 --> 00:11:08,214 might've used the 9th chord here with the 6th string root. 217 00:11:08,214 --> 00:11:11,060 Up to you of course, and that's part of the game, it's your choice. 218 00:11:11,060 --> 00:11:15,320 But I think it's important to realize that can be a valid turnaround, 219 00:11:15,320 --> 00:11:18,164 just switching from doing this kind of thing. 220 00:11:18,164 --> 00:11:22,236 ♪ 221 00:11:22,236 --> 00:11:26,408 To bit of a strummy thing on a chord, it can sound pretty funky, I reckon. 222 00:11:26,408 --> 00:11:27,534 That's a good one. 223 00:11:27,534 --> 00:11:33,964 Now the next one I'm going to show you is related to this line going down. 224 00:11:33,964 --> 00:11:41,764 ♪ 225 00:11:41,764 --> 00:11:43,883 Because often the bass will go up. 226 00:11:43,883 --> 00:11:51,178 ♪ 227 00:11:51,178 --> 00:11:52,691 And this is what I was going to show you. 228 00:11:52,691 --> 00:11:56,157 ♪ 229 00:11:56,157 --> 00:11:57,863 Just because I think it sounds cool. 230 00:11:57,863 --> 00:12:02,446 ♪ 231 00:12:02,446 --> 00:12:03,765 From the D. 232 00:12:03,765 --> 00:12:04,565 1 233 00:12:04,565 --> 00:12:05,347 2 234 00:12:05,347 --> 00:12:06,017 3 235 00:12:06,017 --> 00:12:06,736 4 236 00:12:06,736 --> 00:12:08,204 1 237 00:12:08,204 --> 00:12:09,523 And then we're on the A. 238 00:12:09,523 --> 00:12:10,206 ♪ 239 00:12:10,206 --> 00:12:11,738 D 240 00:12:11,738 --> 00:12:14,794 So we've just got our first finger on the 4th fret, 241 00:12:14,794 --> 00:12:16,746 little finger on the 7th fret, which is the root note. 242 00:12:16,746 --> 00:12:19,518 ♪ 243 00:12:19,518 --> 00:12:22,359 Use whatever fingers you like there, it doesn't... 244 00:12:22,359 --> 00:12:25,659 seams to be that I changed depending on what day it is. 245 00:12:25,659 --> 00:12:27,769 ♪ 246 00:12:27,769 --> 00:12:28,743 Experiment with that. 247 00:12:28,743 --> 00:12:31,777 Of course if you use your little finger on the root note 248 00:12:31,777 --> 00:12:33,605 the same idea will work fine up here. 249 00:12:33,605 --> 00:12:36,562 ♪ 250 00:12:36,562 --> 00:12:37,257 So you could have. 251 00:12:37,257 --> 00:12:44,444 ♪ 252 00:12:44,444 --> 00:12:45,996 You can have it up there too. 253 00:12:45,996 --> 00:12:52,907 ♪ 254 00:12:52,907 --> 00:12:55,247 So I think that's a pretty funky little number. 255 00:12:55,247 --> 00:12:59,126 A little more interesting than the standard one. 256 00:12:59,126 --> 00:13:01,418 There's one even more interesting idea 257 00:13:01,418 --> 00:13:04,108 that I'm gonna share with you on this to explore on your own. 258 00:13:04,108 --> 00:13:10,568 But the last one I want to go through with you properly is a sharp 5 to the 5. 259 00:13:10,568 --> 00:13:11,601 Which is a real common . . . 260 00:13:11,601 --> 00:13:19,945 ♪ 261 00:13:19,945 --> 00:13:26,879 Again, just doing a chord, and moving it from the 5 chord and moving up one fret 262 00:13:26,879 --> 00:13:28,477 ♪ 263 00:13:28,477 --> 00:13:29,113 and back down again. 264 00:13:29,113 --> 00:13:35,255 ♪ 265 00:13:35,255 --> 00:13:36,757 And off you go. 266 00:13:36,757 --> 00:13:43,010 Now the last idea is quite a biggie, and I just want to explain the idea to you, 267 00:13:43,010 --> 00:13:45,905 and then let you run around with it a little bit. 268 00:13:45,905 --> 00:13:49,076 The first thing is to realize that we had this descending line, 269 00:13:49,076 --> 00:13:53,072 ♪ 270 00:13:53,072 --> 00:13:55,852 Which worked in the turnaround to get to A7. 271 00:13:55,852 --> 00:13:57,328 Then we also saw that we had, 272 00:13:57,328 --> 00:14:00,950 ♪ 273 00:14:00,950 --> 00:14:04,148 this ascending line. But what would happen if you did the two together? 274 00:14:04,148 --> 00:14:06,878 So if you're here, one went up, one went down, 275 00:14:06,878 --> 00:14:10,341 and then this one continues going down, 276 00:14:10,341 --> 00:14:15,699 this one continues going up, and that one continues going up, 277 00:14:15,699 --> 00:14:18,969 we end up with this really cool idea called contrary motion. 278 00:14:18,969 --> 00:14:24,802 ♪ 279 00:14:24,802 --> 00:14:29,093 And this idea is a real funky one. There's one of my favorite little pet licks for 280 00:14:29,093 --> 00:14:31,663 ♪ 281 00:14:31,663 --> 00:14:32,458 One going down, 282 00:14:32,458 --> 00:14:34,312 ♪ 283 00:14:34,312 --> 00:14:35,056 one going up. 284 00:14:35,056 --> 00:14:41,436 ♪ 285 00:14:41,436 --> 00:14:43,194 I really like the sound of that. 286 00:14:43,194 --> 00:14:46,011 Just as a little idea, why don't you see how many different ways 287 00:14:46,011 --> 00:14:49,396 you can figure out of playing this. Having one line going down, 288 00:14:49,396 --> 00:14:50,730 which would be the notes 289 00:14:50,730 --> 00:14:51,105 D 290 00:14:51,105 --> 00:14:52,122 C 291 00:14:52,122 --> 00:14:53,114 B 292 00:14:53,114 --> 00:14:54,024 B flat 293 00:14:54,024 --> 00:14:55,541 Leading to A 294 00:14:55,541 --> 00:14:56,622 and the other one going 295 00:14:56,622 --> 00:14:57,317 D 296 00:14:57,317 --> 00:14:59,050 up to F sharp 297 00:14:59,050 --> 00:14:59,834 G 298 00:14:59,834 --> 00:15:00,971 G sharp 299 00:15:00,971 --> 00:15:02,475 A 300 00:15:02,475 --> 00:15:05,478 It's just a fun little game for yourselves to play 301 00:15:05,478 --> 00:15:09,299 ♪ 302 00:15:09,299 --> 00:15:13,433 as a little exercise on the guitar, it could keep you occupied for an afternoon, 303 00:15:13,433 --> 00:15:16,542 and give you some really cool fun licks. 304 00:15:16,542 --> 00:15:20,443 Like with nearly everything on guitar the most important thing here is to put it into practice. 305 00:15:20,443 --> 00:15:23,200 So make sure that you muck around with each of the different turnarounds, 306 00:15:23,200 --> 00:15:27,720 get as many of them as you can to memory, and most importantly, make sure you can play 307 00:15:27,720 --> 00:15:30,126 all of the ones that I'd shown you with the sixth string root. 308 00:15:30,126 --> 00:15:32,587 At the moment we've done all of them with the fifth string root, 309 00:15:32,587 --> 00:15:35,801 I'm not going to show you the sixth string root ones. I want you to try to figure them all out. 310 00:15:35,801 --> 00:15:40,716 It's not difficult, and if it is difficult, you need to sort it out, and make sure 311 00:15:40,716 --> 00:15:43,148 that you learn how to do it, so it's not difficult any more. 312 00:15:43,148 --> 00:15:46,647 It's something I think it's an essential bit of your knowledge 313 00:15:46,647 --> 00:15:49,128 that you need to fill in, if you can't do that. 314 00:15:49,128 --> 00:15:53,894 And the other really important thing to do at this stage as well is to listen to some blues, 315 00:15:53,894 --> 00:15:56,479 and make sure you can spot the different turnarounds. 316 00:15:56,479 --> 00:15:58,826 Get some great blues records that you like, 317 00:15:58,826 --> 00:16:01,566 some Muddy Waters, or Stones, or Howlin' Wolf, or whatever, 318 00:16:01,566 --> 00:16:03,801 and check out the different turnarounds and suss out and go: 319 00:16:03,801 --> 00:16:05,876 "Oh, he's used that turnaround there." 320 00:16:05,876 --> 00:16:09,173 And then see if they do the same turnaround through the whole song, 321 00:16:09,173 --> 00:16:10,722 and does it make it part of the song? 322 00:16:10,722 --> 00:16:14,298 That's a really good way of developing your repertoire a bit, and making sure, 323 00:16:14,298 --> 00:16:18,693 you learn the correct chord progressions for each different 12 bar blues. 324 00:16:18,693 --> 00:16:22,176 Because when I was growing up I always just thought: "oh, it's a 12 bar blues" 325 00:16:22,176 --> 00:16:24,235 and they're all the same and you can do what you like. 326 00:16:24,235 --> 00:16:28,150 But as I studied a bit more, I found that's not the case at all. 327 00:16:28,150 --> 00:16:32,345 They are quite distinct, and the guys that caught them real good, whether it'is 328 00:16:32,345 --> 00:16:34,526 Stevie Ray Vaughn, or The Rolling Stones, 329 00:16:34,526 --> 00:16:38,546 or whatever, any of the more modern "white" guitar players. 330 00:16:38,546 --> 00:16:44,372 If you listen to them play older songs, you hear that they've really absorbed it properly. 331 00:16:44,372 --> 00:16:47,593 They've learned exactly what the chord progressions are and the right way it was played. 332 00:16:47,593 --> 00:16:52,749 Probably my favorite example is The Rolling Stones playing Little Red Rooster. 333 00:16:52,749 --> 00:16:56,523 If you find the original version of that one, which I believe is a Howlin' Wolf one, 334 00:16:56,523 --> 00:17:00,131 there's a mistake in the chord, where the bass doesn't 335 00:17:00,131 --> 00:17:03,196 go to the chord at the same time, and then the whole band jumps over. 336 00:17:03,196 --> 00:17:04,906 And they've copied that in their version. 337 00:17:04,906 --> 00:17:10,504 I just thought it was a mistake, but it wasn't and they've copied it, and they've learned it really well. 338 00:17:10,504 --> 00:17:15,967 So let me play you out with a backing track, and remember the chart is on the web site, 339 00:17:15,967 --> 00:17:18,466 that's going to make it a lot easier for you if you use that. 340 00:17:18,466 --> 00:17:20,653 And I'll see you for another lesson very soon. 341 00:17:20,653 --> 00:17:23,451 Take care of yourselves. Bye bye.