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Modified: Aug 3 2010 - Books - bestsellers
Modified: Aug 3 2010 - Scarborough Unfair
An article on how Paul Simon stole Martin Carthy's arrangement of the English folk song "Scarborough Fair"
Modified: Jun 12 2009 - Blues Guitar - 8-bar blues in A – Come Back Baby
Part of a series of lessons on blues guitar. The series goes from basic blues to intermediate/advanced playing.
Modified: Mar 17 2009 - Blues Guitar - 8-bar blues in A - Key to the Highway
Key To The Highway - 8-bar blues in A, based on the playing of Big Bill Broonzy.
Modified: Mar 17 2009
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Turnaround - Lesson 1, part 1 |
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| Blues Guitar Turnarounds | Turnaround - Lesson 1, part 2 |
The turnaround takes you from the end of one verse to the beginning of the next. It will typically end on a V7-chord, which will be resolved by the I-chord at the beginning of the next verse.
Before going more into turnaround, we have to recapitulate, in case you have not been following the Blues Guitar Series. As pointed out in the Blues Guitar - Lesson 3: An introduction to turnarounds - the turnaround chord - lesson, the blues turnaround usually has two parts: The first part takes place from the first beat of bar 11 to the first beat of bar 12. We start from a I-chord, do some melodic and/or harmonic embellishments, and return to the I-chord. From there the second part goes to the V7-chord.
You can find one example of a turnaround chord sequence in E in the lesson Blues Guitar - Lesson 8: A Turnaround Chord Sequence, and a turnaround lick in Blues Guitar - Lesson 9: Turnaround licks in E. We will start from where we ended in these lessons, so it might be an idea to review them before you continue.
Here I will start with a few chord sequences that can be the basis for many turnaround licks. We start in the key of E-major. The chords we will be using in addition to the E, are three diminished chords: G#dim, Gdim and F#dim.
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| E | G#dim | Gdim | F#dim | E |
Written in tablature, the sequence will be:
You may ask why I call them diminished, and give them these strange root notes. Isn't the G#dim just the E7 in a D7-shape moved up two frets? The answer is a kind of yes and no. If we take the root out of the E7, we are left with a G#dim chord. But it will often function as an E7, and it will often be notated as E7. Play the same sequence of chords as real 7th chords with the root, and listen carefully. The chords will then be E7, D#7 and D7.
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| E | E7 | D#7 | D7 | E |
I think they sound better as dim chords, which means that I do not want them to function as 7th chords in this context. If I should make them into some kind of 7th chords, I prefer the dim7 in this contxt. It will then be E#dim7, Edim7 and D#dim7.
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| E | E#dim7 | Edim7 | D#dim7 | E |
There is no right or wrong here. I am telling you what kind of chords I prefer to use in this context. Your ears decide what you like. What is right for you is right. But listen carefully to the subtle differences between the three chord sequences E - E7 - D#7 - D7 - E, E - G#dim - Gdim - F#dim - E and E - E#dim7 - Edim7 - D#dim7 - E.
Some Turnarounds Blues - books
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Turnarounds Blues - videos
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| Blues Guitar Turnarounds | Turnaround - Lesson 1, part 2 |