Cliche Turnaround Licks

So I want to talk today about a couple of cliché turnarounds and everybody who plays blues guitar should know some turnarounds. Turnarounds are just licks that really are going to occupy the last two bars of the twelve-bar blues form and they just cover those little phrase you listen in Eric Clapton tune or something and it gets about 11th bar and here is some cool lick that happens before the vocal kicks back in at the top of the form and that's just typical. I mean, imagine Eric Clapton but, of course, the blues greats before him. He all kind of invented that stuff and so, the one I was just playing is a hybrid picked one. We will talk about a couple of others but I am starting with the idea that I am coming in on the 11th measure in the form and there is a base on. It's climbing up - one, two, three, four, one, two and that's the open six-string, fourth fret on the six-string, open A, first one on the A-string, second fret on the A-string, the B and then C, D. So you are going to the five chord on the end after two of the 12 measure. One, two, three, four, one, two and now if I put the rest of it on top of that, what would happen is I have got this E drowning which opens E-strings. It's half way to the whole thing and then there's a descending one, just like the lower part was ascending, this part is going to go. So it is dropping down. So you are got this kind of contrary motion happening which is cool. So I am going to hybrid pick this. I have got the pick on the palmuted base note, palmuted base string and I am starting on triplet on beak one - one triplet, two triplet, three triplet, four triplet, one, two. So, really, I am just hybrid picking with the thumb and next finger on the base note, the second finger on the B-string and the third finger, the ring finger on the E-string. So again, slowly, one triplet, two triplet, three triplet, four triplet, one and two and then you have got a real simple little E blue scale like there. They open first string and then on the end of three, quick hammer on pull off from two to three into to the open third string, landing on the second fret on the fourth string. So that's like E blues like... And at the end of it, open E-string with them. So that's a pretty obvious little lick at the end that you hear all the time too and so that's a little trickier than the one I am about to show you. The one I am about to show you is even easier. It's...... That's kind of the obvious one you hear all over the place and that starts on beat-two of the 11th measure. We are sliding up to the fourth fret and playing a triplets - two triplet, three triplet, four triplet, one. So, again that's on the third and the first string. So I am sliding up to the fourth one on the third string and picking the fourth one on the first string and you could do that with a pick. There's no reason you could not do that with a pick, I am just hybrid picking it. So that's one, two triplet, three triplet, four triplet, one and I am hammering from the open third string into the first front of the third string to get the...like implies in the equal * at the end of it and then, C9 through B9 as a chord. Again, hitting that five chord at the end after two. If you get it - one and two and three and four triplet, one and then the last little rift there. Second front on the fifth string. Open first and second all on the fourth string to the open E-string on the down B of the next form. So you get one, four triplet, one, two triplet, three triplet, four triplet, one and two and three and four triplet, one. So it's really important as you are learning this turnarounds to really watch the time you have been allotted while beginner guitar players can play those parts and know those kind of sounds but they really cannot nail the timing of it quite right because you may be just triplets or something or somethings throwing them off. So be sure they count it and so those are both in the Kevy. When you are playing blues, most blues is kind of at least guitar blues. It's kind of, well, it's written on guitar. So lot of these open strings and stuff. So it would be pretty difficult. I am encountering tutor to take either of licks and try to transpose them like the key of A flat or B flat or even D or something but we do want to think about some other licks in other keys. If I want to play in the key of G..Here is around..Here is around the key of G there for a minute, you may go.. The same kind of idea but I am just playing over at this point now, a G7 and a D7 chord. So I am doing the same sort of line here that's descending. What we had earlier for the E blues was descending on the second string. Now I am actually going to just use the lower part of this turnaround to descend chromatically. So..and I am just starting on the beak two. So its like.. So if I had it in the Caroline on top of that, so you can hear I have just put G ringing above all that but if I add the G on there, that works. Now I can add something else on top of that. So if I had, let's say, B,C,C sharp,D. So let's see what that would sound like. We get. Again, that contrary motion happening.. So if I put all that together, we get. and the same kind of little pull off there. Now I am in the key of G. So I am going to start with a high G, hand on pull off three to four B flat to B to the open G, then to F of the third from the fourth string and then land with my thumb there on because I am out of fingers. On the third front of the six-string. So again we go. For that kind of idea. So anyway, the contrary motion is in fact the idea of getting from the one chord into the five chord on the end of the bar-12 rather. It's really essence of that. May be you can kind of work on some of that contrary motions because the sky's the limit. You really just want to try that, come up with things that can be lot of ear-catching. When you make up your stick within the blue scale basically work around the notes of the chord. So that's a few cliché turnarounds for blues and E and G. I am going to slide the second finger from the second fret on the third string up to the sixth fret. One thing I also want to mention is the strumming pander changes slightly and instead of going- down, up, up, up. Like that down, up, up, up. Now you are going to get.. But the first measure is just the open A-string. The second measure which is over an E chord is I going to play the E-string open.