How to Solo Over Blues Turnarounds on Guitar

A turnaround is the final phrase of a blues progression that sets up the next chorus. It’s where time seems to pause, tension builds, and you return to the beginning. For a soloist, the turnaround is your moment - the place where you can shine.

Here’s what makes turnarounds important: they break the predictable rhythm of the main 12-bar blues. While the verse stays relatively static harmonically, the turnaround moves. That movement creates opportunity for interesting soloing.

Learning to solo effectively over turnarounds transforms your blues playing from competent to compelling.

Understanding the Turnaround Harmonically

Most blues songs follow a 12-bar cycle. Here’s a typical 12-bar blues in A:

Bars 1-4: A7 (I chord - home)
Bars 5-6: D7 (IV chord)
Bars 7-8: A7 (I chord - back home)
Bars 9-10: E7 (V chord - the tension point)
Bars 11-12: Turnaround

Those final two bars - that’s your turnaround. It’s where the progression either returns to A7 for the next verse, or resolves and moves somewhere new.

The turnaround is special because it has harmonic movement. While the main verse is relatively static (A7 for four bars straight), the turnaround changes chords. That creates a sense of forward motion and creates opportunity.

Why turnarounds matter for soloing: When the same chord sustains for four bars, your solo options are relatively limited. Any note from the blues scale works. But when chords change every bar or two, suddenly you need to be more thoughtful about which notes you play and when.

This is where good soloists separate themselves from mediocre ones.

Common Turnaround Chord Sequences

Different styles of blues use different turnarounds. Here are the most common:

Turnaround 1: V-IV-I (Classic Chicago Blues)

Bar 11: E7 (or E9)
Bar 12: D7 then A7 (or A9)

This is the most common turnaround in electric blues. The V chord (E7) creates maximum tension. Then it resolves back through the IV (D7) to the I (A7).

Turnaround 2: I-VI-II-V (Jazz Blues Turnaround)

Bar 11: A7 - F#m7b5 - Bm7 - E7

This is smoother, more sophisticated. It’s common in jazz blues where there’s more harmonic movement. Notice each chord changes every beat of the measure.

Turnaround 3: Simple I to V (Texas Shuffle)

Bar 11: A7
Bar 12: E7

This one is minimal but effective. Just the tension of V pulling back to I.

Turnaround 4: I with passing chords (Delta Blues)

Bar 11: A7 - A7#5
Bar 12: A7 - A7sus4 - A7

Here the harmonic movement is subtle - slight alterations of the same chord rather than entirely different chords.

Scale Choices Over Different Turnarounds

The blues scale is your foundation, but the turnaround requires some sophistication.

Over V chord (E7): The E Mixolydian mode (E-F#-G#-A-B-C#-D) works beautifully. It contains the chord tones of E7 and fits the blues aesthetic. You can also stay with the A blues scale (A-C-D-Eb-E-G) - all notes work, but E blues scale (E-G-A-B-D) connects more directly to the E7 chord.

Over IV chord (D7): D Mixolydian works great. Or stay in the A blues scale - the Eb in the A blues scale becomes the b7 of D7, which is very bluesy.

Over I chord (A7): The A blues scale (A-C-D-Eb-E-G) is your home base. Every note works beautifully here.

The modal approach: Instead of thinking “I need the A blues scale,” think “What mode of the blues scale works over this chord?” This gives you more options and more sophistication.

For a V-IV-I turnaround:

• E chord: Use E-based notes (think E blues scale or E Mixolydian)
• D chord: Use D-based notes
• A chord: Use A-based notes

This creates more harmonic connection between your solo and the chords.

Targeting Chord Tones

Here’s the difference between a good blues solo and a great one: great solos target chord tones during important moments.

A chord tone is the essential notes of the chord - the root, third, fifth, and seventh.

For A7: A (root), C# (third), E (fifth), G (seventh) For D7: D (root), F# (third), A (fifth), C (seventh) For E7: E (root), G# (third), B (fifth), D (seventh)

During a turnaround, your solo should:

1. Land on chord tones on beat 1 of each new chord (this makes the harmony clear)
2. Use approach notes to get to those chord tones (this creates interest)
3. Emphasize the seventh of each chord (this is the bluesy, tense note)

Practical example: Over a V-IV-I turnaround in A blues:

Bar 11 (E7):

• Start the bar with a D (approach note)
• Land on E (root of E7) on beat 2
• Move through the E blues scale for color
• Target the D (seventh of E7) on beat 4

Then move to:

Bar 12 (D7 then A7):

• Quick transition to D or A depending on timing
• If D7: target F# or C (chord tones)
• If A7: target A or G (chord tones)

This approach - mixing blues scale motion with intentional chord tone hits - creates cohesion between your solo and the harmony.

Classic Turnaround Licks

Most blues turnarounds are built on well-established licks. Learning these licks gives you solid vocabulary and reference points.

Lick 1: The V7b9 (Classic Tension)

In the key of A, over E7:
E (root) - D (b9) - E - D - E

This simple lick alternates between E and D - between the root and the b9 (flattened 9th). It’s tense, bluesy, and perfect over a V chord.

Lick 2: The VI-II-V Approach (Jazz Influenced) Over a simple I to V turnaround, use an F#m or F#m7b5 to approach the E7. This is smoother and more harmonically sophisticated.

Lick 3: The Tritone Approach Over E7, play B (a tritone from E). This creates maximum tension and is a classic jazz approach. It resolves up to C# or down to A.

Lick 4: The Pentatonic Walk Instead of jumping around, walk down the A pentatonic scale (A-G-E-D-C) starting on a high A. This smooth descent fits perfectly over a turnaround heading back to A.

Lick 5: The Half-Step Bend Bend a note and resolve it. Over E7, bend D up to Eb (a half-step). This adds expression and blues feeling. The bend-and-release is very bluesy.

These aren’t rigid shapes to memorize. They’re principles: emphasize tension over the V chord, use approach notes, target chord tones, and use bends for expression.

Building Tension and Release

A turnaround is fundamentally about tension (the V chord) and release (returning to I).

Your solo should follow that trajectory:

Bars 11-12a (building tension):

• Start relatively simple
• Gradually get busier
• Emphasize bluesy notes (the b3 and b7)
• Use higher register notes (they’re brighter, more intense)

Bars 12b-early next chorus (release):

• Land on I chord (A)
• Move to lower register notes (calmer)
• Emphasize the root (grounding)
• Simplify the rhythmic activity

This mimics the harmonic journey - tension building toward V, then release when you return to I.

Practicing Turnarounds

The key is to practice them in context, not in isolation.

Exercise 1: Loop Turnarounds (15 minutes) Use a backing track or have someone play the 12-bar blues repeatedly. Focus only on bars 11-12 (the turnaround). Play it over and over. Different approach each time, but always with the same chords.

This trains your brain to anticipate the turnaround’s harmonic movement.

Exercise 2: Turnaround Lick Library (10 minutes) Learn 5-10 classic licks over a V-IV-I turnaround. Practice them slowly (60-80 BPM), then gradually increase tempo. When they’re automatic, you have tools to use spontaneously.

Exercise 3: Turnaround Targeting (10 minutes) Set a metronome. Play only the chord tones (root, third, fifth, seventh) over the turnaround progression. No blues scale movement - just the essential notes. This builds harmonic understanding.

Then add blues scale motion between chord tones.

Exercise 4: Full 12-Bar Blues (20 minutes) Play a full 12-bar blues, but focus on the turnaround. The verses are just to set up the turnaround. When you get to bars 11-12, that’s where you play your best ideas.

Record yourself. Listen back. Notice what works and what doesn’t.

Style Considerations

Blues turnarounds vary by style:

Chicago Electric Blues: Fast, energetic turnarounds with lots of bending and vibrato. Players like Buddy Guy emphasize expression.

Texas Shuffle: Groovy, rhythmic turnarounds. The turnaround has as much groove as the main progression.

Jazz Blues: Harmonically sophisticated turnarounds with smooth voice leading. Less emphasis on the b3 and b7, more on the actual chord tones.

Delta Blues: Minimal, often just a riff repeated. Less harmonic movement.

Learn the style-specific approaches that interest you. The principles stay the same - target chord tones, use approach notes, create tension and release - but the execution varies.

Try This in Guitar Wiz

Load the A blues progression from the chord library. Focus specifically on the last two chords - the turnaround area.

Play through the progression slowly. When you get to bars 11-12, stop and just practice soloing over the turnaround.

Start simple: play only the A blues scale over the turnaround. Every note is correct - this is just to understand the sound.

Next pass: specifically target chord tones. Land on A on beat 1 of bar 11. Land on E (if the turnaround goes to E7) on the right moment in bar 11.

Then add some expressive bends. Bend the b3 (C) up toward the major 3rd (C#). Feel how that adds bluesy expression.

Finally, try a smooth descent from high A down to low A over the turnaround. This classic sound is the foundation of countless blues solos.

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People Also Ask

How long does it take to master blues turnarounds? Basic competence comes within 2-3 weeks of focused practice. Real mastery - where you can improvise fluidly - takes months or years. But the basics are achievable quite quickly.

Can I use the same turnaround lick every time? Yes, especially as you’re learning. Most blues players have signature turnaround phrases they use repeatedly. That becomes part of their style. Learn a few solid licks and own them.

What if the turnaround isn’t V-IV-I? The same principles apply. Target chord tones, use the blues scale for motion, create tension and release. Identify what chords are in the turnaround and adjust accordingly.

Is turnaround soloing different from regular blues soloing? Conceptually similar (same scales, same principles) but turnarounds require more intentional harmonic awareness because the chords change. Verses are more “anything goes” because one chord sustains.

Should I practice turnarounds separately or in context? Both. Practice in isolation to nail the sound, then practice in full 12-bar context so you understand the full cycle. Ideally, most practice is in context.