While FIGURE 1’s line is eternally useful, it is a bit bare-bones. Bars 2 and 4 also double up on the fourth and fifth strings. Using the tried and tested descending line approach that we can see in 100 blues intros, this should example be played delicately but upfront in the mix. Typically, a turnaround is a 2 bar phrase that sits over the 11th and 12th bars of your usual 12 bar blues and acts to “turn around” the phrase back to the first chord. In fact, you can amend any or all of these examples to suit your own style. This wailing solo-fest is a great way of letting the audience know you mean business before toning it down for the verse. Take your time developing these skills and you can't lose! It’s a classic that all blues players need to have in their repertoire. These are best played with thumb and fingers to sound all the notes simultaneously and avoid unwanted strings. Enjoy the songs, Beginning concepts include blues theory, left-hand technique, call-and-response phrasing, intros, turnarounds, improvisation, and the rhythmic Video scene 4 - Always included. Connect with MusicRadar: via Twitter, Facebook and YouTube, Get MusicRadar straight to your inbox: Sign up for the free weekly newsletter, Don't miss the latest deals, news, reviews, features and tutorials. You could say it's like starting with an ending!". can anyone direct me to, or post the music or tab to the classic ending riff of most older blues songs??? Some of these licks will be useful for general soloing vocabulary as well as intros or outros. Intros often borrow from their turnaround cousins, because the whole idea is to set up the I chord and the beginning of the progression. Here is a little trick that I use when I am in that situation, to make polished endings that sound like you had planned them. Here you find tab, sheet music and my video tutorial.. Normally,blues turnarounds end with the V chord or a lick based on the V chord before repeating the progression. After the pickup bar, really dig in to that first G for some stinging vibrato. Using a clean-ish tone, this example follows the V chord through the descending run and semitone movement to the home chord template. The first thing you often hear on any blues record is a 'taster' of what is to come, courtesy of some fancy or soulful licks.Â. In this article we’re going to look at three of the most popular blues endings. From then on, it's simply a matter of running through it to develop your 'muscle memory'. Using the V chord (D) to set up for the last Gm chord is an alternative to the semitone movement featured here. (1) Hire a guard named Orris near the northern gate of Freeside. And modern electric players like Eric Johnson and Scott Henderson substitute unusual chords throughout the 12-bar progression, giving a jazzy feel to proceedings. The “Take the ‘A’ Train” Ending. The reason, I think, is that there are so many versions of it, from “Key to the Highway” to “Ain’t Nobody’s Bizness.” These are two great 8-bar blues standards and the only thing they have in common other than the form is that Freddie King recorded them. Similar to the earlier intro, this simple phrase takes in a couple of doublestops, to reflect its 'finishing-the-song' status. The first pattern, FIGURE 1, is a full-blown A blues scale in 5th position. These details are crucial if you are to really get the point across. This outro plays a slightly more fleshed out version of the bass part, pausing on the V (G7#9, but it could be a regular G chord if you prefer) before a big C finish. Add a little delay to create the right atmosphere. So, whatever happened when you Woke Up This Morning, you will now be able to express it far better in song. Part 3: 1. Using 7th and diminished chords (you get the diminished by simply dropping down a fret in this case) this intro is played with quite a heavy picking hand, to maximise its impact. You could say it's like starting with an ending! This makes 12 bars in total – one for each chord. Note that the ascending bassline is still very apparent, until we break away for the licks in bar 2. Having established the riff, who could be blamed for allowing their fingers to slip up the neck for some pentatonic indulgence? Part 5: 1. This classic pattern is one of those that doesn't need turnarounds or V chord tomfoolery - it is what it is! Slightly more gain for some edge and some bent double-stop licks give this intro a little more attitude. Use thumb and fingers for simultaneous notes and to avoid the unused strings on those 7#9 chords at the finish. Mixing double-stop and pentatonic ideas, this outro is quite complex, so it deserves a bit of extra time. This could be an early Van Halen ending, but has its roots in the classic descending line. This should sound familiar to anyone who's ever listened to the blues. Check out some of our intros and compare them with their outro counterparts. It should be fairly self-explanatory with a guitar in your hands. Taking a more chordal approach, the ascending bass line is preserved, even when we reach the 'surprise' D11 chord. Play with confidence for the best effect! This will obviously be a familiar idea by now but ideas like this never stop being useful, as blues is often based on tried and trusted ideas. Sometimes this is called a 'turnaround' - the bit at the end of a 12-bar progression when everything is gearing up to go round again. The semitone movement is back again like an old friend, but we're sure you won't mind when you hear those lovely 13b5 chords. A complete course of online blues guitar lessons unlike any other. Intros and Endings Turnarounds can be used as intros and endings in the blues. The difficulty of the songs increase from top to bottom. The term "12-bar" refers to the number of measures, or musical bars, used to express the theme of a typical blues song. An intro often features a solo lick by the guitar, piano, or other instrument, but sometimes the whole band plays the intro, and the guitar is expected to play rhythms. Often the only major difference is that the outro finishes with a very final I ('home') chord, as opposed to the intro, which usually features the V chord (for example, B major in the key of E), setting our ears up to believe - correctly - that there is more to come. Though easy to play, it's challenging to sound like you really mean it - so keep a close eye on timing and don't lose the intensity. Video scene 1-3 - Based on choosing to complete Nuclear Family or The Nuclear Option. This is just a variation on the first lick that keeps a ‘C’ pedal on the top … These rock 'n' roll double-stops lead to a harmonised descending line on the second and third strings. Try ending Ex. Much more fiddly but no less intense, this idea is quite logical to play once you've teased your fingers through it once. The rhythm in this two-bar intro features a syncopation and then a held note, which creates a musical space (or hole) before the downbeat of th… You can experiment with improvising on top of thi… Jumping in at the E - or V chord - this example leads us back home with a descending line to the not entirely unexpected semitone chord movement. Blues endings replace the V chord with the I … This is a popular blues form that is never really talked about. In it, Texas Blues Alley's Anthony Stauffer shows viewers a simple, easy-to-follow lick that's used to end a lot of 12-bar blues songs. Jumping into the chords at the very end gives a nice finish. Mike Hoffman (68) of the St. Louis Blues raises his arms after teammate Sammy Blais (9) scored a goal against the Anaheim Ducks in the second period, taking the lead over the Ducks 2-1, … Each example will include music notation as well as an audio file. Robert Johnson's fingerstyle acoustic blues employed unusual diminished voicings and chromatic movements to lead from one place to another. Substituting an augmented V for the V7 works in all keys.) The concept of an ascending figure followed by the semitone chord movement is put to good use again here, this time in the key of G, a favourite of Robert Johnson. Starting with intros (of course! A big part of being able to play the blues convincingly – like a pro – is knowing how to handle the “tops and tails” of tunes (that’s musician lingo for “beginnings and endings”). How many times have you heard the old adage "it's not what you play but the way you play it"? Although it launches into something of a pentatonic flurry, it stops a little way short of 'widdle' territory and should fall under the fingers if you run through it a few times. Tip: try moving down a semitone then up again too. Video scene 7-8 - Based on the gender of the Sole Survivor(One will always be included). Video scene 5 - Always included. Work through slowly and absorb the vib/bend details, as well as the best fingerings for those double-stops. In the folk tradition, there are many traditional blues verses that have been sung over and over by many artists. HD video lessons, with tab, standard notation and exclusive backing tracks. Video scene 6 - Always included. The most popular definition is the blues turnaround used in twelve bar and similar blues songs, C-F-G7-C. ), there are both easy and more advanced ideas in a variety of keys and styles, from acoustic to full-on distortion. Learning these 3 blues endings will help advancing players acquire the blues vocabulary that will make them better players at jam sessions and help develop that authentic blues sound. By David Hamburger, Matt Smith, and Wayne Riker. There's something compositionally elegant, too, about 'book-ending' a song in this way. A straight four to the bar instead of a swung or 12/8 feel will give a more 'in your face' result - especially if you play it aggressively with lots of gain! The 13th chords add a cool jazzy finishing touch. Letting a little rock 'n' roll filter in here, these pentatonic based licks lead to another useful chromatic idea, loved by Robben Ford among others. The turnaround can be done many different ways. The gang over at Texas Blues Alley recently released a new lesson video, covering the subject of 12-bar blues endings. You may recognise the sound of a turnaround from the start or end of your favourite blues tracks. All of the licks that we’ll look at here will be presented in the context of an A major blues. Bath I’m Tore Down – Freddy King. We’ll look at all of these blues endings in the key of F and in the context of a 12-bar blues form. When played over 12 bars, this progression becomes a “12-bar blues.” Note: A bar of music is a way of notating a set amount of time, or a certain number of beats, in the music. Remember, this would be your first and last chance to grab an audience's attention! Please refresh the page and try again. Part 4: 1. Visit our corporate site. << Blues Classroom: The most common musical form of blues is the 12-bar blues. 1 this way. Turning up the gain and indulging in a few double-stop bends brings the idea forward a few years. Sometimes, that's all it takes. You could say it's like starting with an ending! BA1 1UA. Keep the feel swinging and bouncy and dig in confidently with thumb and fingers. Of course, there are exceptions to every rule and some of these are featured in our extensive catalogue of examples. Watch out for the usual bend/vibrato issues. Sometimes this is called a 'turnaround' - the bit at the end of a 12-bar progression when everything is gearing up to go round again. The sudden stop for the vocals is also an essential in blues vocabulary! These double-stops are saved from simply doubling the bass by the quarter-tone bend in bar 1. Another spin on a previously used idea using rapid-fire double-stops. Here we begin the introduction of the “Three Kings” of electric blues. This is a simple pentatonic phrase that can sound magnificent. A little wobble with the vibrato bar (if you have one) can add some nice extra expressiveness. England and Wales company registration number 2008885. This website uses cookies to personalize content and to analyze our traffic. Take this as a starting point for more rock excess! This page contains a collection of the finest acoustic fingerstyle blues guitar songs I have selected and played. Anyone interested in playing blues guitar can pick up this well-paced, comprehensive method and get started right away. Calling to mind a higher class of Beano reader, the gain is turned up here, though not quite to 'rock' levels. In blues music, the turnaround is a familiar companion.