Blues Turnarounds on Guitar: How to End Phrases With Style

The turnaround is the hinge of the 12-bar blues. It’s the last two bars of the form - bars 11 and 12 - where the chord progression swings back around to start again. Done right, a turnaround signals to the band that another chorus is starting and creates an irresistible forward pull. Done wrong, it just sounds like you ran out of ideas.

If you’ve learned the 12-bar blues form and want to sound more like a real blues player, mastering a handful of turnarounds is one of the highest-value things you can do.

What a Turnaround Does

In a 12-bar blues in A, the last two bars typically sit on the I chord (A7), then a quick V chord (E7) to pull back to the top. The turnaround phrase fills that space - melodically leading from the I chord back to the V, then to the I at bar 1 of the next chorus.

Harmonically, it creates tension (V chord) and resolution (I chord). Melodically, it descends or ascends through the blues scale to set up the return.

Understanding this function helps you play turnarounds musically, not just mechanically.

Turnaround 1: The Classic Chromatic Descent

This is the most common blues turnaround. It works in virtually every blues style - Chicago, Delta, Texas - and works for both lead guitar and rhythm.

In the key of A, played on the top two strings:

e|---5---4---3---2------|
B|---5---4---3---2---0--|
G|----------------------|
D|----------------------|
A|----------------------|
E|-------------------0--|

The chromatic descent on both strings in parallel creates a classic blues sound. Hit the open A bass note at the end - that’s your I chord arriving.

Play this slowly first. The timing matters: each pair of notes takes one beat, descending over two beats, landing on the final bass note.

Turnaround 2: The Double Stop Shuffle

This version adds more rhythmic punch by playing the notes with a shuffle feel.

e|---5---4---3---2--|
B|---5---4---3---2--|
G|------------------|
D|------------------|
A|---0--------------|
E|------------------|

Same idea, but both strings played as unison double stops. It’s thicker and more aggressive - common in Chicago blues. Add a slight palm mute on the bass note for extra punch.

Turnaround 3: The Bass-String Walk

This turnaround lives on the bass strings and gives a walking feel. Great for solo acoustic blues.

In A, starting on the I (A) and walking down to the V (E):

e|--------------------------|
B|--------------------------|
G|--------------------------|
D|---7---6---5---4----------|
A|---0---0---0---0---2---0--|
E|-----------------------0--|

The A string stays as a drone on frets, while the D string descends, landing on an E7 voicing before resolving back.

Turnaround 4: The Clapton/SRV Style

This is a more modern take - bending into the notes for extra expression:

e|-------------------------|
B|---8b(9)---7---6---5-----|
G|---7b(8)---6---5---4-----|
D|-------------------------|
A|---0---------------------|
E|-----------------------0-|

The initial notes are bent a half step up, giving that crying blues tone. This approach is all over Stevie Ray Vaughan’s playing.

Turnaround 5: The Quick Change Turnaround

This version actually moves through IV-V chords quickly for a more harmonically active ending:

Play your I chord (A7) for the first half of bar 11, move to IV (D7) for the second half, then V (E7) for bar 12, resolving back to I at bar 1.

On guitar, this sounds like:

A7 (beats 1-2)
D7 (beats 3-4)
E7 (bar 12)
A7 (bar 1 of next chorus)

You can combine any of the melodic turnaround phrases above over this harmonic movement.

Transposing Turnarounds

One practical skill: being able to play your turnarounds in any key. Blues is commonly played in A, E, G, B, and D.

The chromatic descent turnaround always starts 5 frets above the root on the first string. In A: start at fret 5. In E: start at fret 0 (open). In G: start at fret 3. In D: start at fret 10 (or work down from 10 to 7, 6, 5).

Learning the starting position formula means you only have to internalize the shape once, not five separate versions.

Rhythm Feel and Timing

Turnarounds are rhythmic as well as melodic. The notes should land in specific places in the bar - usually on beats, with the walk-down starting around beat 1 of bar 11.

Practice to a metronome. Set 60 BPM and count the 12-bar form out loud. When you hit bars 11-12, play your turnaround phrase. Does it land cleanly and lead back to the top? That’s the test.

A lot of blues turnarounds sound weak because the timing is approximate. Get the notes landing precisely on the beat, then add expression (bends, vibrato) on top.

Try This in Guitar Wiz

Blues is built on dominant 7th chords - A7, D7, E7 - and Guitar Wiz’s Chord Library has every voicing of these chords across the fretboard. Before working on your turnarounds, find the A7, D7, and E7 shapes you’re most comfortable with. Understanding where the chord tones are in each position will help you create melodic turnaround lines that outline the harmony rather than just running up and down the blues scale.

Use the Song Maker feature to set up a 12-bar blues progression in the key of A. Loop it and practice inserting your turnaround phrases at bars 11 and 12. Playing over a real progression - even a simple backed one - trains your ears to hear the turnaround in context, which is where it needs to work.

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FAQ

What key should I learn blues turnarounds in first?

A and E are the most common blues keys on guitar. A is a good starting point because the open strings are very usable.

Can I use these turnarounds in my own songs?

Blues turnarounds have been used so long that the general patterns are part of the shared musical language. Specific recordings may be copyrighted, but the general movement is not.

How do I know when to play a turnaround?

In the 12-bar blues form, bars 11 and 12 are the turnaround position. If you’re playing in a band, listen for the chord movement cue from the rhythm section.