5 Killer Blues Turnarounds Every Guitarist Should Know (Easy To Hard)

There’s a dangerous myth out there that a lot of intermediate guitar players fall for…It’s a myth you don’t want to believe especially if you want to play amazing solos…

…because… it can kill your lead guitar progress fast. It can make you sound boring and stale.  

Like you’re constantly rehashing the same old patterns, solo after solo. Never sounding melodic, or new. Well, today I’ve got GOOD NEWS.

I want to warn you about this myth so you don’t get stuck. And also share a lesson that works like an antidote. 

So grab your guitar and let’s get started!

Myth: "I don't need to learn licks anymore" 

I see it all the time. Guitarists get to a certain level with their playing. They’ve learned some chords, scales, and arpeggios. They can even play through a few songs.

Next, they want to start soloing. They start learning about how chords and scales go together and get into a bit of a theory.

But then it starts to go downhill. They start thinking:

• Once I know the theory I’ll be able to solo
• Once I learn all my scales
• Once I can do it in all 12 keys

And on and on it goes.

What happens is they are avoiding the real issue. 

There’s a much simpler and more effective way. And one tiny little part of that is developing your vocabulary through learning other people’s licks NOTE-FOR-NOTE.

Yes, copying. But not so you can only be some regurgitative zombie. But so you can internalize the ideas of the greats.

I’ve had many students email me over the years with these crazy laundry lists of things they are trying to do solo, and I just want to say, “Just throw it all out, it’s all wrong”.

Look I get it. It’s very easy to believe this myth by watching random YouTube videos (trying to determine what’s good information and what’s not) and plodding around the internet.

But the truth is, this can be a huge waste of time. 

Here’s the point…

Players should never stop learning new licks. 

Ever... 

That’s it.

So let’s dive into these 5 blues turnarounds (easy to hard) you can use right now as an antidote.

Blues Turnaround #1

A blues turnaround is a specific chord progression used at the end of a blues progression. A blues turnaround lick is played over this part of the blues form. It creates a sense of closure to the form. While also creating tension that leads the listener back to the beginning of the blues pattern again. The turnaround is a fundamental building block of blues music.

Here are a few key features: 

• Plays in the last two bars (sometimes four) of a blues.
• Creates tension and a sense of incompleteness, making the listener want to hear the resolution back at the beginning.
• Variations: There are many variations of the turnaround besides the I-V sequence. Some might just use the V chord or include chromatic movements or other substitutions.

Blues turnaround lick #1 is in the key of E and uses a common descending pattern. You start on the root note E. Then walk down to the note B. This B note is the root note of the V chord which is typically played in the last bar of a blues turnaround.

Blues Turnaround #2 

One of the signature rhythms of the blues is a triplet rhythm. A triplet refers to a rhythmic grouping of three notes played in the space of one beat. 

For example, in a simple time signature like 4/4, where there are four beats per measure (quarter notes). A triplet would involve three notes played evenly within one quarter note or one beat. So, if you have a quarter note triplet in a 4/4 time signature, each of the three notes would last for one-third of a beat, effectively filling up the space of one beat.

Blues turnaround lick #2 also begins with a sixth interval. Another very common interval used in the blues.

Blues Turnaround #3

In blues turnaround lick #3, you’ll again see the use of the triplet rhythm. Plus the addition of some slides, pull-offs, and the blues scale. This riff in particular has a Texas-style blues to it à la Stevie Ray Vaughan. Stevie Ray Vaughan or SRV is widely regarded as one of the most influential guitarists in the history of Texas blues and blues rock. His impact on the genre and guitar playing, in general, is profound. 

Another key to getting this riff to sound authentic is playing it with a lot of confidence. Vaughan's playing was incredibly confident and expressive. Every note was dripping with emotion and feel. So go for a fiery approach with this one.

Blues Turnaround #4

I learned this next one from the great Muddy Waters. Blues turnaround lick #4 uses a common device you’ll see in many blues turnaround licks. It’s the idea of shifting around the I chord. So let me explain, here we are in the key of E. This lick starts on what looks like part of an E chord higher up the neck. Then it walks down every single fret until you arrive properly at the I chord E in open position on the

A quick note on this lick: If you are playing with a flatpick you’ll have to use a technique called hybrid picking. Hybrid picking is a guitar technique that involves using a combination of both pick (plectrum) and fingers to pluck the strings. (See the video above for a demonstration.) 

Blues Turnaround #5 

Blues turnaround lick #5 is the hardest of the bunch. It again uses hybrid picking, if you are playing with a flatpick, and something called contrary motion.

Contrary motion is essentially where you have two or more musical lines moving in opposite directions. This means that while one line ascends in pitch, the other descends, or vice versa. The lines move in contrary motion when one goes up, the other goes down, and vice versa. In this blues turnaround, the bass line moves up in pitch while the top-line melody moves down.

Contrary motion creates tension, contrast, and a sense of direction in music. In this blues lick you can hear how it adds a more complex sound and depth to the lick.

Conclusion:

In conclusion, debunking the myth that "you don't need to learn licks anymore" is crucial for any intermediate guitarist aiming to elevate their soloing skills. The danger lies in stagnation; believing that theory alone will get you all the way there. But don’t neglect what every great guitarist of all time has done. The truth is, incorporating learned licks into your vocabulary is not regurgitation, but a means to internalize the brilliance of past masters. This antidote revitalizes your playing, injecting it with melodic freshness and vitality.

So have fun practicing these riffs. 

If you liked this, you’ll love this lesson on 10 Easy Blues Songs on guitar next!