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Learn Five Classic Blues
Learn Five Classic Blues Turnarounds: Bars 1
Turnarounds: Bars 11 and 12,
1 and 12, Delta Style! | TAB
Delta Style! | TAB
GP Editors GP Editors October 6, 2015 October 6, 2015
A blues turnaround o
A blues turnaround occupies the final two measurccupies the final two measures—11 and 12—of the 12es—11 and 12—of the 12-bar form. Bar 11 typically contain-bar form. Bar 11 typically contains some sort of lick or phrs some sort of lick or phrase over the I chord harmase over the I chord harmony, andony, and bar 12 shifts to the chord, re
bar 12 shifts to the chord, resultin! in tension that sets usultin! in tension that sets up resolution to the I chord p resolution to the I chord at the top of the form.at the top of the form.
"ften, however, early acoustic #elta bluesmen would $ust
"ften, however, early acoustic #elta bluesmen would $ust sit on the I chord sit on the I chord in bar 12. %or e&le, in 'harlie (atton)s *+creamin) and ollerin) the Blues, in bar 12. %or e&le, in 'harlie (atton)s *+creamin) and ollerin) the Blues, thethe turnaround
turnaround which is similar to the one which is similar to the one shown inshown in
FIGURE 1
FIGURE 1
, be!ins on the bth , be!ins on the bth /#0 and descends down the i&olydian mode to the ma$or rd /#0 and descends down the i&olydian mode to the ma$or rd /340, skippin! the 5th/340, skippin! the 5th /A0 alon! the way. 6otice that measure 2 sticks with the I chord /70./A0 alon! the way. 6otice that measure 2 sticks with the I chord /70.
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>2@5;5<%secrettoken<#s-!mC&DampEcolor9ff@@;;DampE&DampEcolor9ff@@;;DampEautoplay9falseDampEhiderelaautoplay9falseDampEhiderelated9falseDampEshowcomments9trueDamted9falseDampEshowcomments9trueDampEshowuser9trueDpEshowuser9trueD ampEshowreposts9false:F8>iframeF
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FIGURE 1
FIGURE 1
FIGURE 2A
features a Gths-based turnaround lick similar to the one (atton used in his si nature tune *(on Blues while varies thin!s by insertin! theampEshowreposts9false:F8>iframeF
FIGURES 2A-B
Cikewise, Baptist preacher-turned-bluesman +on ouse would occasionally focus his turnaround entirely on the I chord. In *#ownhearted Blues, ouse made use of descendin! and ascendin! th chords to turn the tune around, as in
FIGURE 3
.8iframe width9:1;;<: hei!ht9:1;;: scrollin!9:no: frameborder9:no: src9:https=>>w.soundcloud.com>player>?url9https<A>>api.soundcloud.com>tracks
>2@5;H5<%secrettoken<#s-;knDampEcolor9ff@@;;DampEautoplay9falseDampEhiderelated9falseDampEshowcomments9trueDampEshowuser9trueD ampEshowreposts9false:F8>iframeF
FIGURE 3
>2@5;H1;<%secrettoken<#s-rioMeDampEcolor9ff@@;;DampEautoplay9falseDampEhiderelated9falseDampEshowcomments9trueDampEshowuser9trueD ampEshowreposts9false:F8>iframeF
FIGURE 4
Nhe distin!uishin! characteristic of this turnaround—featured in such tracks as *Lind earted Moman Blues and *ilk 'ow Blues—is the top-strin! note, which acts as a pedal tone a!ainst the descendin! chromatic line from the bth to the @th. %or easiest e&ecution, anchor your 5th fin!er on the 1st strin!)s @th fret, t hen be!in strin! 5)s descendin! pattern with your rd stin!er at the @th fret.
FIGURE 5
, meanwhile, is a variation on a turnaround that Kohnson played in the intro of *e and the #evil Blues.8iframe width9:1;;<: hei!ht9:1;;: scrollin!9:no: frameborder9:no: src9:https=>>w.soundcloud.com>player>?url9https<A>>api.soundcloud.com>tracks
>2@5;H22<%secrettoken<#s-OOPQRDampEcolor9ff@@;;DampEautoplay9falseDampEhiderelated9falseDampEshowcomments9trueDampEshowuser9trueD ampEshowreposts9false:F8>iframeF
FIGURE 5
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• Reply • merkinfuzz •2 years ago
Good stuff ! Thanks !
• Reply •
Michael Hanby •2 years ago
This would be a really good lesson if there was at least some audio to supplement t he tabs...
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