[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:05.49,0:00:07.28,Default,,0000,0000,0000,,Hi, how'ya doing? Justin here.
Dialogue: 0,0:00:07.28,0:00:10.12,Default,,0000,0000,0000,,Welcome to lesson 9 \Nof the Blues Rhythm guitar series
Dialogue: 0,0:00:10.12,0:00:13.38,Default,,0000,0000,0000,,and in this lesson today, \Nwe are going to be talking about turnarounds.
Dialogue: 0,0:00:13.38,0:00:17.28,Default,,0000,0000,0000,,Now a turnaround is the last two bars \Nof a twelve bar blues
Dialogue: 0,0:00:17.28,0:00:19.46,Default,,0000,0000,0000,,and there are a lots different kind\Nof chord progressions
Dialogue: 0,0:00:19.46,0:00:23.22,Default,,0000,0000,0000,,you can use to turn the song around \Nso it goes around again.
Dialogue: 0,0:00:23.22,0:00:25.35,Default,,0000,0000,0000,,Now sometimes it is predetermined
Dialogue: 0,0:00:25.35,0:00:28.85,Default,,0000,0000,0000,,so specific songs have a particular turnaround \Nthat it is being used
Dialogue: 0,0:00:28.85,0:00:30.09,Default,,0000,0000,0000,,that happens most times.
Dialogue: 0,0:00:30.09,0:00:32.05,Default,,0000,0000,0000,,Other times the band kinda get together
Dialogue: 0,0:00:32.05,0:00:34.33,Default,,0000,0000,0000,,and decide "Hey, on this song \Nwe are gonna use this."
Dialogue: 0,0:00:34.33,0:00:38.18,Default,,0000,0000,0000,,On other times if it is a bit on the fly \Nyou have to be listening out to the bass player
Dialogue: 0,0:00:38.18,0:00:39.55,Default,,0000,0000,0000,,or the bass player has to be listening to you \N
Dialogue: 0,0:00:39.55,0:00:42.21,Default,,0000,0000,0000,,to try and suss out\Nwhat turnaround is gonna happen.
Dialogue: 0,0:00:42.21,0:00:45.34,Default,,0000,0000,0000,,It is a lot more fun \Nwhen it's kind of a bit more up in the air
Dialogue: 0,0:00:45.34,0:00:46.37,Default,,0000,0000,0000,,and you don't know what's going to happen
Dialogue: 0,0:00:46.37,0:00:48.81,Default,,0000,0000,0000,,it can make for some interesting notes happening
Dialogue: 0,0:00:48.81,0:00:52.11,Default,,0000,0000,0000,,but if you are aware of all of the different turnarounds
Dialogue: 0,0:00:52.11,0:00:55.68,Default,,0000,0000,0000,,you'll probably start to pick up\N"Oh, it feels like it's gonna be this one!"
Dialogue: 0,0:00:55.68,0:00:56.95,Default,,0000,0000,0000,,or "it sounds like", or
Dialogue: 0,0:00:56.95,0:01:00.43,Default,,0000,0000,0000,,"the first chord is this one \Nso it's gotta be this particular turnaround."
Dialogue: 0,0:01:00.43,0:01:02.07,Default,,0000,0000,0000,,So that's the idea here.
Dialogue: 0,0:01:02.07,0:01:05.45,Default,,0000,0000,0000,,For the backing track,\NI have picked five of the common turnarounds
Dialogue: 0,0:01:05.45,0:01:08.45,Default,,0000,0000,0000,,and done them in succession. So\NI'm going to show you those five first,
Dialogue: 0,0:01:08.45,0:01:10.14,Default,,0000,0000,0000,,\Nnow I'm going to show you\Nsome others as well,
Dialogue: 0,0:01:10.14,0:01:12.00,Default,,0000,0000,0000,,just in a close up and show you some different ways
Dialogue: 0,0:01:12.00,0:01:13.38,Default,,0000,0000,0000,,that you might approach playing them.
Dialogue: 0,0:01:13.38,0:01:17.37,Default,,0000,0000,0000,,As part of the Blues Lead Guitar course \Nthere's also a lesson on turnarounds,
Dialogue: 0,0:01:17.37,0:01:21.74,Default,,0000,0000,0000,,because very often the turnaround is hosted \Nby the lead guitar player.
Dialogue: 0,0:01:21.74,0:01:25.66,Default,,0000,0000,0000,,They play the melodic part that really says,\N"Yeah, we're going to turnaround all",
Dialogue: 0,0:01:25.66,0:01:26.96,Default,,0000,0000,0000,,"Yeah, we're gonna end the tune."
Dialogue: 0,0:01:26.96,0:01:29.97,Default,,0000,0000,0000,,So it's important to check that\Nlesson out as well.
Dialogue: 0,0:01:29.97,0:01:33.03,Default,,0000,0000,0000,,And be aware that sometimes \Nthere isn't a turnaround as well,
Dialogue: 0,0:01:33.03,0:01:37.31,Default,,0000,0000,0000,,there are quite a few tunes with the blues chord sequences I call the Long One,
Dialogue: 0,0:01:37.31,0:01:41.24,Default,,0000,0000,0000,,which is where the last two bars \Nof a 12 bar blues sequence
Dialogue: 0,0:01:41.24,0:01:43.15,Default,,0000,0000,0000,,just play the 1 chord for the whole two bars.
Dialogue: 0,0:01:43.15,0:01:47.84,Default,,0000,0000,0000,,In that case it's usually down to the drummer \Nto make some sort of fill thing that says,
Dialogue: 0,0:01:47.84,0:01:51.12,Default,,0000,0000,0000,,"Hey, we're finishing the tune \Nand going back around again"
Dialogue: 0,0:01:51.12,0:01:52.77,Default,,0000,0000,0000,,It's quite often that that happens.
Dialogue: 0,0:01:52.77,0:01:56.56,Default,,0000,0000,0000,,Don't think that it's uncommon for there \Nto be not a turnaround.
Dialogue: 0,0:01:56.56,0:01:59.47,Default,,0000,0000,0000,,It is probably more common\Nfor there to be one, \N
Dialogue: 0,0:01:59.47,0:02:00.75,Default,,0000,0000,0000,,and that's why we're gonna do this lesson.
Dialogue: 0,0:02:00.75,0:02:02.31,Default,,0000,0000,0000,,That's enough rambling from me,
Dialogue: 0,0:02:02.31,0:02:04.52,Default,,0000,0000,0000,,let's get to a close up \Nand check out how to play some.
Dialogue: 0,0:02:05.32,0:02:09.27,Default,,0000,0000,0000,,The lesson today is going to be based in the\Nkey of D. So just to refresh your memory
Dialogue: 0,0:02:09.27,0:02:11.60,Default,,0000,0000,0000,,we've got D here, is the 1 chord,
Dialogue: 0,0:02:11.60,0:02:15.25,Default,,0000,0000,0000,,G at the third fret there is the 4 chord,
Dialogue: 0,0:02:15.25,0:02:19.07,Default,,0000,0000,0000,,and A at the 5th fret - 6th string\Nroot of course - is the 5 chord.
Dialogue: 0,0:02:19.07,0:02:27.65,Default,,0000,0000,0000,,♪
Dialogue: 0,0:02:27.65,0:02:29.88,Default,,0000,0000,0000,,Just playing through a regular blues.
Dialogue: 0,0:02:29.88,0:02:31.97,Default,,0000,0000,0000,,♪
Dialogue: 0,0:02:31.97,0:02:34.69,Default,,0000,0000,0000,,Just so you're 100% sure\Nwhere the turnaround is.
Dialogue: 0,0:02:34.69,0:02:38.36,Default,,0000,0000,0000,,♪
Dialogue: 0,0:02:38.36,0:02:40.84,Default,,0000,0000,0000,,There's the bit with the 5 chord.
Dialogue: 0,0:02:40.84,0:02:43.45,Default,,0000,0000,0000,,♪
Dialogue: 0,0:02:43.45,0:02:45.21,Default,,0000,0000,0000,,To the 4 chord.
Dialogue: 0,0:02:45.21,0:02:46.59,Default,,0000,0000,0000,,♪
Dialogue: 0,0:02:46.59,0:02:51.15,Default,,0000,0000,0000,,And now is where the turnaround is.\NWhat I'm going to be showing you now
Dialogue: 0,0:02:51.15,0:02:56.13,Default,,0000,0000,0000,,are things to go at this point in the blues.\NThe last two bars of a 12 bar blues.
Dialogue: 0,0:02:56.13,0:03:02.83,Default,,0000,0000,0000,,One of the most common is just to put the\N5 chord at the end for two beats.
Dialogue: 0,0:03:02.83,0:03:09.54,Default,,0000,0000,0000,,So we'd have\N1, 2, 3, 4, 1, 2, & 3 & 4, & 1.
Dialogue: 0,0:03:09.54,0:03:12.71,Default,,0000,0000,0000,,Just literally that & 4 & 1.
Dialogue: 0,0:03:12.71,0:03:16.80,Default,,0000,0000,0000,,Again, the last two bars \Nof the Blues in D, 3 4,
Dialogue: 0,0:03:16.80,0:03:22.93,Default,,0000,0000,0000,,is D 2 3 4, 1 2 3 4.
Dialogue: 0,0:03:22.93,0:03:28.65,Default,,0000,0000,0000,,So it can just move over just for those\Nlast two beats of the whole sequence,
Dialogue: 0,0:03:28.65,0:03:30.32,Default,,0000,0000,0000,,just moves over to the 5 chord,
Dialogue: 0,0:03:30.32,0:03:32.30,Default,,0000,0000,0000,,then we're back to the 1 chord, right away
Dialogue: 0,0:03:32.30,0:03:35.80,Default,,0000,0000,0000,,This is really common, particularly\Nlike earlier Blues stuff,
Dialogue: 0,0:03:35.80,0:03:38.88,Default,,0000,0000,0000,,it's more common than any other one.
Dialogue: 0,0:03:38.88,0:03:41.00,Default,,0000,0000,0000,,So, be aware of that one first of all.
Dialogue: 0,0:03:41.00,0:03:46.87,Default,,0000,0000,0000,,Now the second one in our sequence for\Nthe backing track, is a little climb-up.
Dialogue: 0,0:03:46.87,0:03:52.49,Default,,0000,0000,0000,,Which is again really popular, it happens\Nin the second bar of our two bar sequence.
Dialogue: 0,0:03:52.49,0:03:55.56,Default,,0000,0000,0000,,So we have one bar of D,\Nthe second bar goes
Dialogue: 0,0:03:55.56,0:03:57.38,Default,,0000,0000,0000,,♪
Dialogue: 0,0:03:57.38,0:04:01.23,Default,,0000,0000,0000,,I'm sure you've heard that before, it's a\Nreally common little sequence again.
Dialogue: 0,0:04:01.23,0:04:06.65,Default,,0000,0000,0000,,1 2 3 4 1 & 2 & 3 4
Dialogue: 0,0:04:06.65,0:04:13.06,Default,,0000,0000,0000,,1 2 3 4 1 & 2 & 3 4
Dialogue: 0,0:04:13.06,0:04:16.62,Default,,0000,0000,0000,,It doesn't always have to be with the chunka-chunka thing, by the way, it could be:
Dialogue: 0,0:04:16.62,0:04:21.29,Default,,0000,0000,0000,,♪
Dialogue: 0,0:04:21.29,0:04:22.05,Default,,0000,0000,0000,,It could use:
Dialogue: 0,0:04:22.05,0:04:25.41,Default,,0000,0000,0000,,♪
Dialogue: 0,0:04:25.41,0:04:26.71,Default,,0000,0000,0000,,That was a little 9th chord.
Dialogue: 0,0:04:26.71,0:04:30.89,Default,,0000,0000,0000,,You can do all sorts of things, I'm just\Nusing a chunka-chunka as an example.
Dialogue: 0,0:04:30.89,0:04:33.70,Default,,0000,0000,0000,,But you could use any\Ndifferent type of sequence \N
Dialogue: 0,0:04:33.70,0:04:35.80,Default,,0000,0000,0000,,that we've been looking at\Nso far to get:
Dialogue: 0,0:04:35.80,0:04:38.28,Default,,0000,0000,0000,,♪
Dialogue: 0,0:04:38.28,0:04:40.66,Default,,0000,0000,0000,,is a little two note there,\Nif you want:
Dialogue: 0,0:04:40.66,0:04:45.36,Default,,0000,0000,0000,,♪
Dialogue: 0,0:04:45.36,0:04:50.68,Default,,0000,0000,0000,,There's really infinite number of ways of using each of these different things.
Dialogue: 0,0:04:50.68,0:04:54.41,Default,,0000,0000,0000,,That's the one I normally call it the climb,\Nand we're going to put a climb at the end
Dialogue: 0,0:04:54.41,0:04:57.94,Default,,0000,0000,0000,,in the turnaround, would be the kind of thing\Nthat you'd ask your bass player.
Dialogue: 0,0:04:57.94,0:05:00.49,Default,,0000,0000,0000,,So that would be a little climb.
Dialogue: 0,0:05:00.49,0:05:06.06,Default,,0000,0000,0000,,Now the 3rd one we've got here\Nis a variation on the two really, where we go:
Dialogue: 0,0:05:06.06,0:05:07.65,Default,,0000,0000,0000,,1
Dialogue: 0,0:05:07.65,0:05:09.28,Default,,0000,0000,0000,,4
Dialogue: 0,0:05:09.28,0:05:10.76,Default,,0000,0000,0000,,1
Dialogue: 0,0:05:10.76,0:05:13.15,Default,,0000,0000,0000,,5
Dialogue: 0,0:05:13.15,0:05:14.40,Default,,0000,0000,0000,,And then we starting the sequence again.
Dialogue: 0,0:05:14.40,0:05:18.68,Default,,0000,0000,0000,,This is a very common little sequence.
Dialogue: 0,0:05:18.68,0:05:19.36,Default,,0000,0000,0000,,1
Dialogue: 0,0:05:19.36,0:05:20.23,Default,,0000,0000,0000,,4
Dialogue: 0,0:05:20.23,0:05:21.89,Default,,0000,0000,0000,,1
Dialogue: 0,0:05:21.89,0:05:22.60,Default,,0000,0000,0000,,5
Dialogue: 0,0:05:22.60,0:05:23.56,Default,,0000,0000,0000,,Could be played.
Dialogue: 0,0:05:23.56,0:05:28.62,Default,,0000,0000,0000,,♪
Dialogue: 0,0:05:28.62,0:05:29.50,Default,,0000,0000,0000,,or
Dialogue: 0,0:05:29.50,0:05:36.89,Default,,0000,0000,0000,,♪
Dialogue: 0,0:05:36.89,0:05:38.92,Default,,0000,0000,0000,,Again, loads of different ways.
Dialogue: 0,0:05:38.92,0:05:44.95,Default,,0000,0000,0000,,♪
Dialogue: 0,0:05:44.95,0:05:46.81,Default,,0000,0000,0000,,All the same thing, just as long as it's
Dialogue: 0,0:05:46.81,0:05:48.01,Default,,0000,0000,0000,,1
Dialogue: 0,0:05:48.01,0:05:49.01,Default,,0000,0000,0000,,4
Dialogue: 0,0:05:49.01,0:05:50.12,Default,,0000,0000,0000,,1
Dialogue: 0,0:05:50.12,0:05:51.29,Default,,0000,0000,0000,,5
Dialogue: 0,0:05:51.29,0:05:54.26,Default,,0000,0000,0000,,I'd recommend most of these runs just doing a regular chunka-chunka.
Dialogue: 0,0:05:54.26,0:05:55.92,Default,,0000,0000,0000,,♪
Dialogue: 0,0:05:55.92,0:05:58.40,Default,,0000,0000,0000,,Just to get used to\Nwhat the chord changes are.
Dialogue: 0,0:05:58.40,0:06:00.98,Default,,0000,0000,0000,,It's a nice easy way of\Nlooking at it to start off with,
Dialogue: 0,0:06:00.98,0:06:04.87,Default,,0000,0000,0000,,then worry about jazzing all of the chords up,\Nif you like that kind of style.
Dialogue: 0,0:06:04.87,0:06:11.30,Default,,0000,0000,0000,,So the next one, which is number 4,\Nis what's called a 1, 6, 2, 5.
Dialogue: 0,0:06:11.30,0:06:15.37,Default,,0000,0000,0000,,Again this has kind of got it's roots in Jazz,\NI guess. You kind of get this:
Dialogue: 0,0:06:15.37,0:06:19.23,Default,,0000,0000,0000,,♪
Dialogue: 0,0:06:19.23,0:06:22.01,Default,,0000,0000,0000,,This kind of effect, but it does happen\Neven in a chunka-chunka:
Dialogue: 0,0:06:22.01,0:06:29.62,Default,,0000,0000,0000,,♪
Dialogue: 0,0:06:29.62,0:06:34.26,Default,,0000,0000,0000,,It does happen like that, \Nusing a regular kind of Blues progressions.
Dialogue: 0,0:06:34.26,0:06:39.29,Default,,0000,0000,0000,,So this one, whether it is the\N1, 6, 2, 5 of the scale.\N
Dialogue: 0,0:06:39.29,0:06:43.69,Default,,0000,0000,0000,,Now you know that\Nour Blues so far is just 1, 4, and 5.
Dialogue: 0,0:06:43.69,0:06:49.73,Default,,0000,0000,0000,,If that's 4, 5, there's 6. If that's 1, there's 2.\NSo that's where you can think:
Dialogue: 0,0:06:49.73,0:06:51.06,Default,,0000,0000,0000,,1
Dialogue: 0,0:06:51.06,0:06:52.29,Default,,0000,0000,0000,,6
Dialogue: 0,0:06:52.29,0:06:53.59,Default,,0000,0000,0000,,2
Dialogue: 0,0:06:53.59,0:06:54.98,Default,,0000,0000,0000,,5
Dialogue: 0,0:06:54.98,0:07:02.68,Default,,0000,0000,0000,,♪
Dialogue: 0,0:07:02.68,0:07:05.73,Default,,0000,0000,0000,,And again, make sure that you check out,-\NI'm sure you're going to already, 'cause I know
Dialogue: 0,0:07:05.73,0:07:08.39,Default,,0000,0000,0000,,that you're conscientious about\Nmaking sure that you'll get
Dialogue: 0,0:07:08.39,0:07:11.28,Default,,0000,0000,0000,,everything with your 5th string root and 6th string root, aren't you?
Dialogue: 0,0:07:11.28,0:07:13.63,Default,,0000,0000,0000,,So make sure that you figure out where
Dialogue: 0,0:07:13.63,0:07:14.22,Default,,0000,0000,0000,,1
Dialogue: 0,0:07:14.22,0:07:14.92,Default,,0000,0000,0000,,6
Dialogue: 0,0:07:14.92,0:07:15.80,Default,,0000,0000,0000,,2
Dialogue: 0,0:07:15.80,0:07:16.52,Default,,0000,0000,0000,,5
Dialogue: 0,0:07:16.52,0:07:19.04,Default,,0000,0000,0000,,Is going to be if we started up here.
Dialogue: 0,0:07:19.04,0:07:19.73,Default,,0000,0000,0000,,1
Dialogue: 0,0:07:19.73,0:07:20.70,Default,,0000,0000,0000,,6
Dialogue: 0,0:07:20.70,0:07:21.56,Default,,0000,0000,0000,,2
Dialogue: 0,0:07:21.56,0:07:22.59,Default,,0000,0000,0000,,5
Dialogue: 0,0:07:22.59,0:07:23.63,Default,,0000,0000,0000,,or 1
Dialogue: 0,0:07:23.63,0:07:24.89,Default,,0000,0000,0000,,6
Dialogue: 0,0:07:24.89,0:07:25.84,Default,,0000,0000,0000,,2
Dialogue: 0,0:07:25.84,0:07:26.85,Default,,0000,0000,0000,,5
Dialogue: 0,0:07:26.85,0:07:28.81,Default,,0000,0000,0000,,1
Dialogue: 0,0:07:28.81,0:07:29.95,Default,,0000,0000,0000,,Hey, might recognize
Dialogue: 0,0:07:29.95,0:07:33.52,Default,,0000,0000,0000,,♪
Dialogue: 0,0:07:33.52,0:07:38.09,Default,,0000,0000,0000,,That I talked about in the little lesson that where we looked at the little mini grips.
Dialogue: 0,0:07:38.09,0:07:43.80,Default,,0000,0000,0000,,That's another really common sequence that you might want to try out.
Dialogue: 0,0:07:43.80,0:07:48.73,Default,,0000,0000,0000,,And the last one I'm showing you is a 1, flat 3, to flat 2 sequence.
Dialogue: 0,0:07:48.73,0:07:53.94,Default,,0000,0000,0000,,Which is a chromatic thing, there's some fancier reasons to do with chord substitutions,
Dialogue: 0,0:07:53.94,0:07:55.75,Default,,0000,0000,0000,,that we can get into at another time,
Dialogue: 0,0:07:55.75,0:08:00.67,Default,,0000,0000,0000,,but for now I think you should just keep it simple and playing,
Dialogue: 0,0:08:00.67,0:08:02.01,Default,,0000,0000,0000,,1
Dialogue: 0,0:08:02.01,0:08:04.19,Default,,0000,0000,0000,,move up three frets
Dialogue: 0,0:08:04.19,0:08:05.96,Default,,0000,0000,0000,,back
Dialogue: 0,0:08:05.96,0:08:07.20,Default,,0000,0000,0000,,back 1
Dialogue: 0,0:08:07.20,0:08:09.04,Default,,0000,0000,0000,,and then we're back at the middle.
Dialogue: 0,0:08:09.04,0:08:10.50,Default,,0000,0000,0000,,And you can use either chord.
Dialogue: 0,0:08:10.50,0:08:17.85,Default,,0000,0000,0000,,♪
Dialogue: 0,0:08:17.85,0:08:20.10,Default,,0000,0000,0000,,That kind of thing if you're doing it in chords. Or it could be
Dialogue: 0,0:08:20.10,0:08:27.22,Default,,0000,0000,0000,,♪
Dialogue: 0,0:08:27.22,0:08:30.87,Default,,0000,0000,0000,,It can be chunka-chunka, all of these things, they can be fancy chords,
Dialogue: 0,0:08:30.87,0:08:36.05,Default,,0000,0000,0000,,or they can be a regular power chord chunka-chunka thing, whatever you want to do.
Dialogue: 0,0:08:36.05,0:08:42.21,Default,,0000,0000,0000,,It's important you explore all of those different ideas, it's not just one thing or the other.
Dialogue: 0,0:08:42.21,0:08:45.17,Default,,0000,0000,0000,,So that's all of the ones that are used on the backing track.
Dialogue: 0,0:08:45.17,0:08:47.66,Default,,0000,0000,0000,,Remember, there are charts on the web site which will help you remember
Dialogue: 0,0:08:47.66,0:08:51.70,Default,,0000,0000,0000,,the order of them on the backing track, and exactly what chords are in what ones.
Dialogue: 0,0:08:51.70,0:08:53.80,Default,,0000,0000,0000,,So I'd highly recommend that you go to the web site and check that out,
Dialogue: 0,0:08:53.80,0:08:56.32,Default,,0000,0000,0000,,it really will make life a lot easier for you.
Dialogue: 0,0:08:56.32,0:08:59.38,Default,,0000,0000,0000,,There are some other kind of turnarounds that are pretty common,
Dialogue: 0,0:08:59.38,0:09:02.77,Default,,0000,0000,0000,,and sound pretty cool, I couldn't fit them all on the backing track, so
Dialogue: 0,0:09:02.77,0:09:06.95,Default,,0000,0000,0000,,I thought I'd show them to you anyway and you can apply them to other backing tracks
Dialogue: 0,0:09:06.95,0:09:09.92,Default,,0000,0000,0000,,from this series, or just jam around with them with your mates or whatever.
Dialogue: 0,0:09:09.92,0:09:14.87,Default,,0000,0000,0000,,So the first one is kind of this descending line, often played by a bass player,
Dialogue: 0,0:09:14.87,0:09:18.64,Default,,0000,0000,0000,,but it sounds pretty cool on guitar as well. It's just these notes.
Dialogue: 0,0:09:18.64,0:09:28.12,Default,,0000,0000,0000,,♪
Dialogue: 0,0:09:28.12,0:09:29.80,Default,,0000,0000,0000,,You can play it as power chords as well, if you like.
Dialogue: 0,0:09:29.80,0:09:33.26,Default,,0000,0000,0000,,What we're doing is starting\Nwith the root note.
Dialogue: 0,0:09:33.26,0:09:38.02,Default,,0000,0000,0000,,Moving down a tone. And then chromatically down to the 5 chord.
Dialogue: 0,0:09:38.02,0:09:40.51,Default,,0000,0000,0000,,Which in this key is the key of A.
Dialogue: 0,0:09:40.51,0:09:43.07,Default,,0000,0000,0000,,I know you're gonna do your homework and transfer it over to the
Dialogue: 0,0:09:43.07,0:09:45.86,Default,,0000,0000,0000,,6th string root stuff as well,\Nand figure out how to play each one.
Dialogue: 0,0:09:45.86,0:09:48.90,Default,,0000,0000,0000,,Of course you could move down a tone,
Dialogue: 0,0:09:48.90,0:09:55.69,Default,,0000,0000,0000,,but move to the C here.\NSo from C to D, instead go D to C.
Dialogue: 0,0:09:55.69,0:10:00.06,Default,,0000,0000,0000,,♪
Dialogue: 0,0:10:00.06,0:10:03.54,Default,,0000,0000,0000,,This is a really common little sequence.\NLike I said, often the guitar will just do this.
Dialogue: 0,0:10:03.54,0:10:05.61,Default,,0000,0000,0000,,♪
Dialogue: 0,0:10:05.61,0:10:06.85,Default,,0000,0000,0000,,And the bass player will have the,
Dialogue: 0,0:10:06.85,0:10:11.85,Default,,0000,0000,0000,,bum, bum, bah, bah, bumpa, bumpa\Nthat kind of thing.
Dialogue: 0,0:10:11.85,0:10:13.62,Default,,0000,0000,0000,,I think it's a cool
Dialogue: 0,0:10:13.62,0:10:19.04,Default,,0000,0000,0000,,♪
Dialogue: 0,0:10:19.04,0:10:23.18,Default,,0000,0000,0000,,So that's the first one of the extras.\NNow the second one is just playing the chord.
Dialogue: 0,0:10:23.18,0:10:26.43,Default,,0000,0000,0000,,Now I know it's like, "What do you mean?\NThat's pretty easy."
Dialogue: 0,0:10:26.43,0:10:27.50,Default,,0000,0000,0000,,But if you get like a real:
Dialogue: 0,0:10:27.50,0:10:30.78,Default,,0000,0000,0000,,♪
Dialogue: 0,0:10:30.78,0:10:34.67,Default,,0000,0000,0000,,Often if it's a chunka-chunka chunka thing, a chunka-chunka chunka-chunka,
Dialogue: 0,0:10:34.67,0:10:36.76,Default,,0000,0000,0000,,you've got an to extra chunka in there.
Dialogue: 0,0:10:36.76,0:10:39.34,Default,,0000,0000,0000,,If you're doing this kind of thing\Nand it gets to the 5 chord,
Dialogue: 0,0:10:39.34,0:10:43.18,Default,,0000,0000,0000,,you don't always want to\Nkeep going with your chunkas.
Dialogue: 0,0:10:43.18,0:10:45.66,Default,,0000,0000,0000,,You might want to just end up\Nplaying the chord.
Dialogue: 0,0:10:45.66,0:10:48.66,Default,,0000,0000,0000,,As I'm going to do when we get\Nto the chunkas on this bit.
Dialogue: 0,0:10:48.66,0:10:52.29,Default,,0000,0000,0000,,♪
Dialogue: 0,0:10:52.29,0:10:53.14,Default,,0000,0000,0000,,Here you
Dialogue: 0,0:10:53.14,0:10:57.45,Default,,0000,0000,0000,,♪
Dialogue: 0,0:10:57.45,0:10:59.00,Default,,0000,0000,0000,,Just for that one bit.
Dialogue: 0,0:10:59.00,0:11:01.94,Default,,0000,0000,0000,,♪
Dialogue: 0,0:11:01.94,0:11:04.51,Default,,0000,0000,0000,,Going to the full chord. If you've got a fifth string root,
Dialogue: 0,0:11:04.51,0:11:05.63,Default,,0000,0000,0000,,you might use a 9th chord, or
Dialogue: 0,0:11:05.63,0:11:08.21,Default,,0000,0000,0000,,might've used the 9th\Nchord here with the 6th string root.
Dialogue: 0,0:11:08.21,0:11:11.06,Default,,0000,0000,0000,,Up to you of course, and that's\Npart of the game, it's your choice.
Dialogue: 0,0:11:11.06,0:11:15.32,Default,,0000,0000,0000,,But I think it's important to realize that\Ncan be a valid turnaround,
Dialogue: 0,0:11:15.32,0:11:18.16,Default,,0000,0000,0000,,just switching from doing this kind of thing.
Dialogue: 0,0:11:18.16,0:11:22.24,Default,,0000,0000,0000,,♪
Dialogue: 0,0:11:22.24,0:11:26.41,Default,,0000,0000,0000,,To bit of a strummy thing on a chord,\Nit can sound pretty funky, I reckon.
Dialogue: 0,0:11:26.41,0:11:27.53,Default,,0000,0000,0000,,That's a good one.
Dialogue: 0,0:11:27.53,0:11:33.96,Default,,0000,0000,0000,,Now the next one I'm going to show you is\Nrelated to this line going down.
Dialogue: 0,0:11:33.96,0:11:41.76,Default,,0000,0000,0000,,♪
Dialogue: 0,0:11:41.76,0:11:43.88,Default,,0000,0000,0000,,Because often the bass will go up.
Dialogue: 0,0:11:43.88,0:11:51.18,Default,,0000,0000,0000,,♪
Dialogue: 0,0:11:51.18,0:11:52.69,Default,,0000,0000,0000,,And this is what I was going to show you.
Dialogue: 0,0:11:52.69,0:11:56.16,Default,,0000,0000,0000,,♪
Dialogue: 0,0:11:56.16,0:11:57.86,Default,,0000,0000,0000,,Just because I think it sounds cool.
Dialogue: 0,0:11:57.86,0:12:02.45,Default,,0000,0000,0000,,♪
Dialogue: 0,0:12:02.45,0:12:03.76,Default,,0000,0000,0000,,From the D.
Dialogue: 0,0:12:03.76,0:12:04.56,Default,,0000,0000,0000,,1
Dialogue: 0,0:12:04.56,0:12:05.35,Default,,0000,0000,0000,,2
Dialogue: 0,0:12:05.35,0:12:06.02,Default,,0000,0000,0000,,3
Dialogue: 0,0:12:06.02,0:12:06.74,Default,,0000,0000,0000,,4
Dialogue: 0,0:12:06.74,0:12:08.20,Default,,0000,0000,0000,,1
Dialogue: 0,0:12:08.20,0:12:09.52,Default,,0000,0000,0000,,And then we're on the A.
Dialogue: 0,0:12:09.52,0:12:10.21,Default,,0000,0000,0000,,♪
Dialogue: 0,0:12:10.21,0:12:11.74,Default,,0000,0000,0000,,D
Dialogue: 0,0:12:11.74,0:12:14.79,Default,,0000,0000,0000,,So we've just got our first finger\Non the 4th fret,
Dialogue: 0,0:12:14.79,0:12:16.75,Default,,0000,0000,0000,,little finger on the 7th fret, \Nwhich is the root note.
Dialogue: 0,0:12:16.75,0:12:19.52,Default,,0000,0000,0000,,♪
Dialogue: 0,0:12:19.52,0:12:22.36,Default,,0000,0000,0000,,Use whatever fingers you like there,\Nit doesn't...
Dialogue: 0,0:12:22.36,0:12:25.66,Default,,0000,0000,0000,,seams to be that I changed\Ndepending on what day it is.
Dialogue: 0,0:12:25.66,0:12:27.77,Default,,0000,0000,0000,,♪
Dialogue: 0,0:12:27.77,0:12:28.74,Default,,0000,0000,0000,,Experiment with that.
Dialogue: 0,0:12:28.74,0:12:31.78,Default,,0000,0000,0000,,Of course if you use your little finger on the root note
Dialogue: 0,0:12:31.78,0:12:33.60,Default,,0000,0000,0000,,the same idea will work fine up here.
Dialogue: 0,0:12:33.60,0:12:36.56,Default,,0000,0000,0000,,♪
Dialogue: 0,0:12:36.56,0:12:37.26,Default,,0000,0000,0000,,So you could have.
Dialogue: 0,0:12:37.26,0:12:44.44,Default,,0000,0000,0000,,♪
Dialogue: 0,0:12:44.44,0:12:45.100,Default,,0000,0000,0000,,You can have it up there too.
Dialogue: 0,0:12:45.100,0:12:52.91,Default,,0000,0000,0000,,♪
Dialogue: 0,0:12:52.91,0:12:55.25,Default,,0000,0000,0000,,So I think that's a pretty funky little number.
Dialogue: 0,0:12:55.25,0:12:59.13,Default,,0000,0000,0000,,A little more interesting than the standard one.
Dialogue: 0,0:12:59.13,0:13:01.42,Default,,0000,0000,0000,,There's one even more interesting idea
Dialogue: 0,0:13:01.42,0:13:04.11,Default,,0000,0000,0000,,that I'm gonna share with you\Non this to explore on your own.
Dialogue: 0,0:13:04.11,0:13:10.57,Default,,0000,0000,0000,,But the last one I want to go through\Nwith you properly is a sharp 5 to the 5.
Dialogue: 0,0:13:10.57,0:13:11.60,Default,,0000,0000,0000,,Which is a real common . . .
Dialogue: 0,0:13:11.60,0:13:19.94,Default,,0000,0000,0000,,♪
Dialogue: 0,0:13:19.94,0:13:26.88,Default,,0000,0000,0000,,Again, just doing a chord, and moving it from the 5 chord and moving up one fret
Dialogue: 0,0:13:26.88,0:13:28.48,Default,,0000,0000,0000,,♪
Dialogue: 0,0:13:28.48,0:13:29.11,Default,,0000,0000,0000,,and back down again.
Dialogue: 0,0:13:29.11,0:13:35.26,Default,,0000,0000,0000,,♪
Dialogue: 0,0:13:35.26,0:13:36.76,Default,,0000,0000,0000,,And off you go.
Dialogue: 0,0:13:36.76,0:13:43.01,Default,,0000,0000,0000,,Now the last idea is quite a biggie, and I just want to explain the idea to you,
Dialogue: 0,0:13:43.01,0:13:45.90,Default,,0000,0000,0000,,and then let you run around with it a little bit.
Dialogue: 0,0:13:45.90,0:13:49.08,Default,,0000,0000,0000,,The first thing is to realize that we had\Nthis descending line,
Dialogue: 0,0:13:49.08,0:13:53.07,Default,,0000,0000,0000,,♪
Dialogue: 0,0:13:53.07,0:13:55.85,Default,,0000,0000,0000,,Which worked in the turnaround\Nto get to A7.
Dialogue: 0,0:13:55.85,0:13:57.33,Default,,0000,0000,0000,,Then we also saw that we had,
Dialogue: 0,0:13:57.33,0:14:00.95,Default,,0000,0000,0000,,♪
Dialogue: 0,0:14:00.95,0:14:04.15,Default,,0000,0000,0000,,this ascending line. But what would\Nhappen if you did the two together?
Dialogue: 0,0:14:04.15,0:14:06.88,Default,,0000,0000,0000,,So if you're here, one went up,\None went down,
Dialogue: 0,0:14:06.88,0:14:10.34,Default,,0000,0000,0000,,and then this one continues going down,
Dialogue: 0,0:14:10.34,0:14:15.70,Default,,0000,0000,0000,,this one continues going up,\Nand that one continues going up,
Dialogue: 0,0:14:15.70,0:14:18.97,Default,,0000,0000,0000,,we end up with this really cool idea\Ncalled contrary motion.
Dialogue: 0,0:14:18.97,0:14:24.80,Default,,0000,0000,0000,,♪
Dialogue: 0,0:14:24.80,0:14:29.09,Default,,0000,0000,0000,,And this idea is a real funky one.\NThere's one of my favorite little pet licks for
Dialogue: 0,0:14:29.09,0:14:31.66,Default,,0000,0000,0000,,♪
Dialogue: 0,0:14:31.66,0:14:32.46,Default,,0000,0000,0000,,One going down,
Dialogue: 0,0:14:32.46,0:14:34.31,Default,,0000,0000,0000,,♪
Dialogue: 0,0:14:34.31,0:14:35.06,Default,,0000,0000,0000,,one going up.
Dialogue: 0,0:14:35.06,0:14:41.44,Default,,0000,0000,0000,,♪
Dialogue: 0,0:14:41.44,0:14:43.19,Default,,0000,0000,0000,,I really like the sound of that.
Dialogue: 0,0:14:43.19,0:14:46.01,Default,,0000,0000,0000,,Just as a little idea, why don't you see how many different ways
Dialogue: 0,0:14:46.01,0:14:49.40,Default,,0000,0000,0000,,you can figure out of playing this. Having one line going down,
Dialogue: 0,0:14:49.40,0:14:50.73,Default,,0000,0000,0000,,which would be the notes
Dialogue: 0,0:14:50.73,0:14:51.10,Default,,0000,0000,0000,,D
Dialogue: 0,0:14:51.10,0:14:52.12,Default,,0000,0000,0000,,C
Dialogue: 0,0:14:52.12,0:14:53.11,Default,,0000,0000,0000,,B
Dialogue: 0,0:14:53.11,0:14:54.02,Default,,0000,0000,0000,,B flat
Dialogue: 0,0:14:54.02,0:14:55.54,Default,,0000,0000,0000,,Leading to A
Dialogue: 0,0:14:55.54,0:14:56.62,Default,,0000,0000,0000,,and the other one going
Dialogue: 0,0:14:56.62,0:14:57.32,Default,,0000,0000,0000,,D
Dialogue: 0,0:14:57.32,0:14:59.05,Default,,0000,0000,0000,,up to F sharp
Dialogue: 0,0:14:59.05,0:14:59.83,Default,,0000,0000,0000,,G
Dialogue: 0,0:14:59.83,0:15:00.97,Default,,0000,0000,0000,,G sharp
Dialogue: 0,0:15:00.97,0:15:02.48,Default,,0000,0000,0000,,A
Dialogue: 0,0:15:02.48,0:15:05.48,Default,,0000,0000,0000,,It's just a fun little game for yourselves to play
Dialogue: 0,0:15:05.48,0:15:09.30,Default,,0000,0000,0000,,♪
Dialogue: 0,0:15:09.30,0:15:13.43,Default,,0000,0000,0000,,as a little exercise on the guitar, it could keep you occupied for an afternoon,
Dialogue: 0,0:15:13.43,0:15:16.54,Default,,0000,0000,0000,,and give you some really cool fun licks.
Dialogue: 0,0:15:16.54,0:15:20.44,Default,,0000,0000,0000,,Like with nearly everything on guitar the most important thing here is to put it into practice.
Dialogue: 0,0:15:20.44,0:15:23.20,Default,,0000,0000,0000,,So make sure that you muck around with each of the different turnarounds,
Dialogue: 0,0:15:23.20,0:15:27.72,Default,,0000,0000,0000,,get as many of them as you can to memory, and most importantly, make sure you can play
Dialogue: 0,0:15:27.72,0:15:30.13,Default,,0000,0000,0000,,all of the ones that I'd shown you\Nwith the sixth string root.
Dialogue: 0,0:15:30.13,0:15:32.59,Default,,0000,0000,0000,,At the moment we've done all of them with the fifth string root,
Dialogue: 0,0:15:32.59,0:15:35.80,Default,,0000,0000,0000,,I'm not going to show you the sixth string root ones. I want you to try to figure them all out.
Dialogue: 0,0:15:35.80,0:15:40.72,Default,,0000,0000,0000,,It's not difficult, and if it is difficult, you need to sort it out, and make sure
Dialogue: 0,0:15:40.72,0:15:43.15,Default,,0000,0000,0000,,that you learn how to do it,\Nso it's not difficult any more.
Dialogue: 0,0:15:43.15,0:15:46.65,Default,,0000,0000,0000,,It's something I think it's an essential\Nbit of your knowledge
Dialogue: 0,0:15:46.65,0:15:49.13,Default,,0000,0000,0000,,that you need to fill in,\Nif you can't do that.
Dialogue: 0,0:15:49.13,0:15:53.89,Default,,0000,0000,0000,,And the other really important thing to do at this stage as well is to listen to some blues,
Dialogue: 0,0:15:53.89,0:15:56.48,Default,,0000,0000,0000,,and make sure you can\Nspot the different turnarounds.
Dialogue: 0,0:15:56.48,0:15:58.83,Default,,0000,0000,0000,,Get some great blues records that you like,
Dialogue: 0,0:15:58.83,0:16:01.57,Default,,0000,0000,0000,,some Muddy Waters, or Stones,\Nor Howlin' Wolf, or whatever,
Dialogue: 0,0:16:01.57,0:16:03.80,Default,,0000,0000,0000,,and check out the different turnarounds\Nand suss out and go:
Dialogue: 0,0:16:03.80,0:16:05.88,Default,,0000,0000,0000,,"Oh, he's used that turnaround there."
Dialogue: 0,0:16:05.88,0:16:09.17,Default,,0000,0000,0000,,And then see if they do the same turnaround through the whole song,
Dialogue: 0,0:16:09.17,0:16:10.72,Default,,0000,0000,0000,,and does it make it part of the song?
Dialogue: 0,0:16:10.72,0:16:14.30,Default,,0000,0000,0000,,That's a really good way of developing your repertoire a bit, and making sure,
Dialogue: 0,0:16:14.30,0:16:18.69,Default,,0000,0000,0000,,you learn the correct chord progressions for each different 12 bar blues.
Dialogue: 0,0:16:18.69,0:16:22.18,Default,,0000,0000,0000,,Because when I was growing up I always just thought: "oh, it's a 12 bar blues"
Dialogue: 0,0:16:22.18,0:16:24.24,Default,,0000,0000,0000,,and they're all the same\Nand you can do what you like.
Dialogue: 0,0:16:24.24,0:16:28.15,Default,,0000,0000,0000,,But as I studied a bit more, I found\Nthat's not the case at all.
Dialogue: 0,0:16:28.15,0:16:32.34,Default,,0000,0000,0000,,They are quite distinct, and the guys that caught them real good, whether it'is
Dialogue: 0,0:16:32.34,0:16:34.53,Default,,0000,0000,0000,,Stevie Ray Vaughn, or The Rolling Stones,
Dialogue: 0,0:16:34.53,0:16:38.55,Default,,0000,0000,0000,,or whatever, any of the more modern\N"white" guitar players.
Dialogue: 0,0:16:38.55,0:16:44.37,Default,,0000,0000,0000,,If you listen to them play older songs, you hear that they've really absorbed it properly.
Dialogue: 0,0:16:44.37,0:16:47.59,Default,,0000,0000,0000,,They've learned exactly what the chord progressions are and the right way it was played.
Dialogue: 0,0:16:47.59,0:16:52.75,Default,,0000,0000,0000,,Probably my favorite example is The Rolling Stones playing Little Red Rooster.
Dialogue: 0,0:16:52.75,0:16:56.52,Default,,0000,0000,0000,,If you find the original version of that one, which I believe is a Howlin' Wolf one,
Dialogue: 0,0:16:56.52,0:17:00.13,Default,,0000,0000,0000,,there's a mistake in the chord,\Nwhere the bass doesn't
Dialogue: 0,0:17:00.13,0:17:03.20,Default,,0000,0000,0000,,go to the chord at the same time, and then the whole band jumps over.
Dialogue: 0,0:17:03.20,0:17:04.91,Default,,0000,0000,0000,,And they've copied that in their version.
Dialogue: 0,0:17:04.91,0:17:10.50,Default,,0000,0000,0000,,I just thought it was a mistake, but it wasn't and they've copied it, and they've learned it really well.
Dialogue: 0,0:17:10.50,0:17:15.97,Default,,0000,0000,0000,,So let me play you out with a backing track, and remember the chart is on the web site,
Dialogue: 0,0:17:15.97,0:17:18.47,Default,,0000,0000,0000,,that's going to make it\Na lot easier for you if you use that.
Dialogue: 0,0:17:18.47,0:17:20.65,Default,,0000,0000,0000,,And I'll see you for another lesson very soon.
Dialogue: 0,0:17:20.65,0:17:23.45,Default,,0000,0000,0000,,Take care of yourselves.\NBye bye.