In This Guide
1 What Is a Blues Turnaround?
A blues turnaround is a short musical phrase played in the last two bars of the 12-bar blues form. Its job is to "turn the progression around" and lead the listener's ear back to bar 1 for the next chorus. Without a turnaround, the transition from one chorus to the next can feel abrupt and disconnected. With a well-played turnaround, the form flows seamlessly in an endless cycle.
Turnarounds are one of the most recognizable sounds in blues guitar. When you hear that chromatic descending figure over a bass note at the end of a blues verse, you are hearing a turnaround. Robert Johnson, Muddy Waters, T-Bone Walker, and B.B. King all developed signature turnaround phrases that became part of the blues vocabulary. Learning these figures connects you directly to the tradition.
In terms of harmony, the turnaround occupies bars 11 and 12 of the 12-bar form. Bar 11 typically sits on the I chord while a melodic figure descends chromatically, and bar 12 lands on the V chord, which creates tension that resolves to the I chord at the top of the next chorus. This V-to-I resolution is the strongest harmonic pull in Western music, and it is what makes the turnaround so effective at cycling the form.
Think of the turnaround as a musical period at the end of a sentence. It punctuates the end of one thought and prepares the listener for the next one. Every blues guitarist needs at least three or four solid turnaround phrases in their vocabulary, and mastering more gives you the ability to keep the music interesting chorus after chorus without repeating yourself.
Pro Tip
When playing in a band, the turnaround is your chance to signal to the other musicians that the form is cycling back around. Play it with conviction and rhythmic clarity so the bass player and drummer can lock in with you on the transition.
2 The Classic Chromatic Descending Turnaround
The most iconic blues turnaround is the chromatic descending figure played over an open bass string. In the key of E, this involves playing notes on the treble strings that walk down chromatically (one fret at a time) while the open low E string drones underneath. Robert Johnson used this turnaround on nearly every recording he made, and it has been the standard ever since.
Classic Robert Johnson Turnaround in E
Bar 11 (I chord) Bar 12 (V chord)
E |---0-----------0-----------|---------0----------|
B |---0-----------0-----------|----0----0-------0---|
G |---1-----0-----------------|------------------1-|
D |-------2-----1-------------|-------2-------2----|
A |-----------2-----1---------|----0------0h2------|
E |---0---0---0---0---0---0---|---------------------|
B7
The beauty of this turnaround lies in its voice leading. The notes on the upper strings move downward in half steps: from the minor third to the major second to the flatted second, before resolving to the root or the V chord. This chromatic movement creates a smooth, descending line that the ear follows naturally. Each note in the descent increases the pull toward resolution.
To play this cleanly, keep your thumb anchored on the back of the neck and let your fingers walk down the frets one at a time. The open low E string should ring steadily throughout, acting as a drone note. Focus on making each note ring clearly before moving to the next. Speed is not the goal here; clarity and timing are. The turnaround should feel relaxed, almost lazy, with a gentle shuffle feel.
Variations on this turnaround are endless. You can play the descending line on different string pairs (try the D and G strings, or the A and D strings). You can add a vibrato on the final note before the V chord. You can change the rhythm from straight to triplet-based. Each variation gives you a slightly different flavor while maintaining the essential chromatic descent that defines the turnaround.
Pro Tip
Listen to Robert Johnson's "Crossroads" and "Sweet Home Chicago" to hear the chromatic descending turnaround played with masterful timing. Notice how he varies the turnaround slightly each time through the form, keeping the music fresh.
3 Single-Note Turnaround Licks
While the chromatic double-stop turnaround is the most famous approach, many blues guitarists prefer single-note turnaround licks. These are melodic phrases played in the last two bars that use notes from the blues scale or the minor pentatonic scale to create a vocal, lyrical turnaround. B.B. King was the master of the single-note turnaround, using precise bends and vibrato to make his guitar sing through the form transitions.
B.B. King Style Single-Note Turnaround in A
E |---------------------5---8b(10)--8--5---------| B |---5---8b(10)r(8)--5---------5-------8--5-----| G |-5--7--5----------------------------5---7b(9)-| D |----------------------------------------------| A |----------------------------------------------| E |----------------------------------------------| Bar 11 Bar 12 (resolve to V: E7) b = bend r = release (target pitch in parentheses)
The advantage of a single-note turnaround is that it transitions seamlessly between rhythm and lead playing. If you have been comping chords through the verse, a single-note turnaround adds a flash of lead playing that sets up the next chorus. Conversely, if you have been soloing, a single-note turnaround can bring the energy down and hand things back to the singer or the rhythm section.
To build your single-note turnaround vocabulary, start with the minor pentatonic scale in the position you are most comfortable with. Create a short descending phrase that starts high and ends on the root or the fifth of the key. Add bends on the second and third strings to give the phrase a vocal quality. End the phrase on beat 1 of bar 12 with a strong note that leads into the V chord.
Many great turnaround licks use a call-and-response structure across the two bars. Bar 11 presents a short melodic idea (the "call"), and bar 12 answers it (the "response") before resolving to the V chord. This mirrors the vocal structure of blues lyrics and gives your turnaround a conversational quality that is deeply rooted in the blues tradition.
4 Double-Stop Turnarounds
Double-stop turnarounds use two notes played simultaneously on adjacent strings to create a thick, harmonized sound. This approach sits between the simplicity of single-note turnarounds and the fullness of chordal turnarounds. Double-stops are a staple of Texas blues, Chicago blues, and rock-blues styles. Players like Stevie Ray Vaughan, Albert King, and Freddie King used double-stop turnarounds extensively.
Double-Stop Turnaround in E (Texas Blues Style)
E |-12/--10/--8/---7---5---3-------------| B |-12/--10/--8/---7---5---3----0--2--0--| G |-----------------------------1--2--1--| D |-----------------------------2--2--2--| A |-----------------------------2--0--2--| E |---0----0---0---0---0---0---0---------| Bar 11 Bar 12 (B7) / = slide down
The sliding double-stops in the example above create a dramatic, aggressive turnaround that works well at louder volumes with overdrive. Each pair of notes slides down the neck in parallel motion, creating a wall of sound that descends toward the open position. This is a favorite technique of Stevie Ray Vaughan, who would often add this kind of turnaround to aggressive shuffle blues.
A more subtle double-stop approach uses intervals of thirds or sixths on the B and G strings (or E and B strings). These intervals create a sweet, harmonized melody that descends gracefully. Chuck Berry pioneered this approach in his rock and roll style, and it has been a blues guitar standard ever since. The thirds-based turnaround sounds equally good clean or with a mild overdriven tone.
To practice double-stop turnarounds, start with the chromatic descent on two adjacent strings and focus on keeping both notes even in volume and articulation. The two strings should ring together as a unit, not as separate notes. Use a combination of your index and middle fingers (or middle and ring fingers) to fret the pairs, and pick both strings simultaneously with a single confident stroke.
Pro Tip
Mix double-stop and single-note turnarounds within the same performance. Use a gentle single-note turnaround during quiet verses and save the aggressive sliding double-stops for when the energy peaks. This dynamic contrast keeps the audience engaged over a long blues set.
5 Turnarounds in Different Keys
While most turnaround examples are taught in E because of the convenient open low E string, you need to be able to play turnarounds in every common blues key. The key of A is the second most important, and turnarounds in A follow the same chromatic descent principle but are anchored on the open A string instead of the E string.
Classic Turnaround in A
E |------0---------0----------|-------0---------| B |------2---------2----------|-------0----2----| G |---2------1----------------|----1-------2----| D |------2------2------1------|-------2----2----| A |---0------0------0------0--|----0-------0----| E |---------------------------|-----------------| Bar 11 (A) Bar 12 (E7)
For keys that do not have open bass strings (like the key of B-flat or F), you need to adapt your turnaround technique. You can use a bass note pedal fretted with your thumb wrapped over the neck, or you can play a slide-based turnaround that moves the entire turnaround pattern up the neck. Many jazz-blues players use moveable turnaround shapes that can be played in any key without open strings.
The key of G offers a particularly rich turnaround because you can use the open G string as a bass note while the chromatic descent happens on the B and high E strings. In the key of C, turnarounds often incorporate the open G and B strings as part of the descending line. Each key has its own character, and discovering the best turnaround voicings in each key is one of the pleasures of blues guitar study.
A practical approach is to learn the chromatic turnaround in E first, then transpose it to A and G using similar open-string patterns. From there, learn one moveable turnaround shape that works in any key using barre chord positions. With these tools, you will be able to play a convincing turnaround in any key at any jam session, which is an essential skill for any working blues guitarist.
6 Ending Turnarounds vs Cycling Turnarounds
Not all turnarounds serve the same purpose. A cycling turnaround is designed to connect one chorus to the next, ending on the V chord to create forward momentum. An ending turnaround is played on the very last chorus of a song and resolves firmly to the I chord, signaling that the song is over. Knowing the difference between these two is essential for playing in a band.
The cycling turnaround ends on the V chord (B7 in the key of E, E7 in the key of A), creating tension that demands resolution to the I chord at the top of the next chorus. This tension is what keeps the blues form cycling forward. Every turnaround you play during the body of a song should be a cycling turnaround that points forward to what comes next.
The ending turnaround, by contrast, resolves firmly to the I chord, often with a ritardando (gradual slowing down) and a final chord stab or a single sustained note with heavy vibrato. A common ending is to play the chromatic descending turnaround but land on the I chord instead of the V chord, often adding a ninth chord (E9, A9) as the final voicing for a sophisticated, jazzy conclusion.
In a live performance, the band leader signals the ending by making eye contact and raising a foot or nodding on the last time through the form. As the turnaround approaches, the entire band ritards together and lands on the final chord. Practice both cycling and ending turnarounds so you are prepared for both situations. The ability to end a song cleanly and together is the mark of an experienced blues musician. For more about building complete solos over the blues form, see our guide on blues improvisation.
Pro Tip
A powerful ending technique is to play a cycling turnaround as usual but stop abruptly on beat 1 of what would be the new bar 1. Hit the I chord hard, let it ring, then cut it off with a sharp palm mute. This creates a dramatic, definitive ending that always gets a reaction from the audience.
Key Takeaways
- The turnaround occupies bars 11-12 of the 12-bar blues and leads the form back to bar 1
- The chromatic descending turnaround over an open bass note is the most essential blues guitar figure to learn
- Build your vocabulary with single-note, double-stop, and chordal turnaround variations
- Learn turnarounds in E, A, and G first, then develop moveable shapes for other keys
- Use cycling turnarounds (ending on V) during the song and ending turnarounds (resolving to I) for the final chorus
- Vary your turnarounds throughout a performance to keep the music fresh and dynamic