The Turnaround And Endings

Because the standard blues form is a cyclical form, meaning that it simply repeats the 12 or 8 bar progression for the duration of the song, players invented a device to mark the end of the progression and push towards the resolution (beginning of the form).  This is known as a turnaround.   But - this approach is also commonly used for endings as well. 

The turnaround is characterized by the arrival to the V7 chord immediately before the form repeats and begins on I. 

It is usually either a chromatic walk-down to the V (in either single note or chord cluster form), or often times players bang out a quick lick to end on the V. 

Either way, the whole idea is to land on the V note or V7 chord / chord tones to create a dramatic push back to the I chord at the beginning of the form. 

Let’s go over some very common examples.  All of these are moveable, so be mindful of key center over neck position.  Download the PDF for diagrams. 

• 1st String Pedal Tone Walk Down 

Anchor the root on the first string with pinkie and walk down the 2nd string to the V.  When you reach the V on the 2nd string with your 1st finger, finish with a full V7 chord.

• 4th String Pedal Tone Walk-Down

Anchor the root on the first string with pinkie and walk down the 4th string to the V.  When you reach the V on the 4th string with your 1st finger, rock your pinkie over to the 2nd string to get the V there as well.  Finish with a full V7 chord.

• 4th and 2nd String Contra-Postive Walk.

Do the walk up to the V on the second string at the same time you do the walk down to the V on the 4th string.  When you arrive at both, hit a full V7 chord. 

• Diminished Triad Walk Down

This is where you take the 3-note diminished triad of your tonic - I7 chord (dim triad is the top note cluster of a Dom 7 Chord) and walk it down chromatically to the major chord of the tonic, and then end on the V7 chord.  It’s a cool sound, and if you want, you can even do this as double stops and omit one of the notes.  Mess with it!