Turnaround Exercise Guitar Lesson

Chapter 1: (10:43) Changing the Key and Exercise Review Time

In lessons 8-11, Hawkeye explored a common blues turnaround. He taught you how simple rhythmic variations can be applied to this turnaround. Also, various arpeggio patterns can be applied to the turnaround to create new options. By shifting the turnaround from the treble strings to the bass strings, another set of turnaround options become readily available. Finally, Hawkeye demonstrated how to transpose the turnaround to all 12 keys.

Before proceeding to the remainder of this lesson, take some time to review how a turnaround typically functions in the blues genre. A turnaround can be placed in bars 11 and 12 within the 12 bar blues form to give the form a definite sense of finality. It also serves as an effective transition back to the beginning of the form. Hawkeye demonstrates the turnaround at the end of the form at 00:30 in the lesson video. This example is played in the key of E. The turnaround is frequently played at the end of the form in the last two bars. However, a series of turnarounds can be played over the entire 12 bar blues form within the context of an effective lead guitar solo.

Turnaround Solo

Playing a series of turnarounds is just one way of constructing a lead guitar solo. Hawkeye exemplifies this concept in the key of G in this lesson. Here's a measure-by-measure breakdown of the turnarounds that must be used in this key.

Bars 1-2: Turnaround in G
Bars 3-4: Turnaround in G
Bars 5-6: Turnaround C
Bars 7-8: Turnaround in G
Bar 9: First half of the turnaround in D
Bar 10: First half of the turnaround in C
Bars 11-12: Turnaround in G

Turnaround Exercise

Hawkeye applies the music theory concepts listed above to an effective exercise. This exercise is designed to help you practice playing turnarounds over the entire 12 bar form in any key.

Since this exercise is demonstrated in the key of G, your first step is to determine the chords that are used to play a blues form in this key. Remember Hawkeye's hand trick to determine the I, IV, and V chords for any key. In the key of G, these chords are G, C, and D(7) respectively. Consequently, you will need to be able to play turnarounds over these three chords.

A. Watch and Learn

Watch carefully as Hawkeye demonstrates how the turnaround should be played over these basic chord changes. For example, the turnaround over the tonic chord begins with a G7 voicings played at the 7th and 6th frets. This shape descends chromatically until the barre chord shape for G is reached at the 3rd fret. The dominant seventh chord that begins the turnaround over C is played at the 12th and 11th frets. Slide this chord shape up two frets when beginning the turnaround over the V chord, D.

Before you begin to practice the entire 12 bar form with turnarounds, isolate and practice each individual turnaround. Begin by practicing the turnaround over the tonic chord G. Then work on the turnarounds for the IV and V chords. Once you can play all of the individual turnarounds accurately and in time, begin to string them together.

B. Harmonic Rhythm

When playing the turnaround over the entire blues form, the harmonic rhythm must be altered slightly. Harmonic rhythm is the rate at which chords change within a progression. For example, the turnaround in G typically features a G7 chord played in triplets for 1 beat. Then, Gb7 is played in triplets for 1 beat. Next, D7 is played for a beat. However, in the exercise that Hawkeye demonstrates, notice how he plays the G7 and Gb7 chords for two beats each in the first measure. Then, in the second measure, each chord is played for one beat each. He plays through this exercise at a slow tempo at 05:50. Watch this demonstration closely to determine when and where and when he is changing chords within each turnaround. Also, check out the notation and tablature that accompanies this exercise. All notation and tablature can be found under the "Supplemental Content" tab.

C. Adding Variations to the Exercise

Remember all of the variations that can be applied to the turnaround. These variations can be applied to the exercise presented in this lesson as well. After you have mastered the exercise as Hawkeye demonstrated it at 05:50, begin playing each turnaround with some slight variations. For example, experiment with arpeggiating each of the chords. Or, play the chords in eighth notes instead of triplets. Also, try playing the bass versions of these turnarounds. Feel free to experiment and explore new possibilities. Remember that one of the keys to improvisation is being able to draw from a large bag of tricks at a moment's notice.

At 08:10, Hawkeye demonstrates one way in which this exercise can be arpeggiated in triplets. He plays through this example again later in the lesson at a slower tempo. This example can be found at about 09:10.

Also, remember that you can play the turnaround backwards. Start with the first chord in the turnaround progression. Then, ascend chromatically in half steps. Hawkeye demonstrates this idea at 10:10 in the lesson video.

D. Transposition Time

Like all other exercises presented in Hawkeye’s Phase 2 Blues series, you should practice this exercise in all 12 keys. Remember to play several variations on the turnaround for each key that you practice. Also, mix and match variations within the 12 bar form. This will help your knowledge of the fretboard as well as your ability to improvise.

E. Don't Get Stuck in a Rut!

Throughout your practice sessions, do not practice the same thing over and over again. Most guitarists fall into a rut of practicing what they are already good at. This will accomplish little more than temporarily satisfying your own ego. Instead, practice your weaknesses, and capitalize on your strengths when performing for others. For example, after you have mastered playing this exercise in one key with one variation, move on to something else. Return to the first key once you have spent some time working with the other 11 keys.

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