In our final segment, let's look at a little bit of the theory behind this lick. It's with all Blues licks and you will be able to figure out how to put them in different keys. Really any guitar lick that you want to recycle and use in other places. I think I have already mentioned that in this last part of the lick, that's just the Blue scale with an added major third and just a descending figure.
This first part of the lick, however, is something that's kind of an important concept for a turnaround lick. In this case, I am taking the E7 chord which has an E, a G#, a B and a D in it and I am just spelling out the notes. So, here on the twelfth part of the second string, I have got a B note, going down to a G# on the ninth fret, going to an E on the ninth fret of the third string. So these all notes are out of the arpeggio. No other notes besides that.
Now you've got an option when you do a turnaround lick. Since the chords are going down by a whole step, in this case down two frets, you can always do the same thing with a lot of your turnaround lick. So you get a kind of a sound that's like.
That kind of deal. So with this lick, I certainly could have gone. And gotten away with it and so what I am doing is I am just taking that same figure and taking it down two frets just like the chord progression is doing. However, in this case, I am not really crazy about that because it just sounds so typical. It's so expected. So while the chords are going down, it's a really cool concept to take the lick up in the opposite direction because it gives you kind of a different sound in an unexpected approach.
So the notes in the D7 chord which are what we are playing over now are D, F#, A and C. And so if you go up to the next chord turn that you can find, here on the thirteenth fret of the second string I have got a C note and so that is the flat 7 out of a D7 chord. On the tenth fret of the second string, I have got an A note. So that's the fifth and then on the eleventh fret of the third string, I have got an F#. So that spells out the D7 chord. And then that puts me in a perfect position to then hit this blue scale. And put all that together.
So that gives you kind of a fresh approach to that turnaround and it is also a good idea to try to keep away from cliché kind of sounds unless that's what you are going for. So that way we are taking just that form, taking up one fret so we are still outlining those chords using our arpeggios. So, one more time on that. So have fun.
That starts with a hammer-on from the seventh to the ninth fret on the third string and then the eighth fret on the second string. So I really think of that as three different little sections that make that whole Blue. Starting with the first section.
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