Lesson 7: Turn-Arounds ( Cadences)
What's a Turn-Around?
A turn-around is a cadence, a small chord progression, usually to be found at the end of a section of a tune. This can be at the end of each 8, 16 or 32 bars in the AABA form or at the end of each 12 bars in a blues.
The turn-around marks the end of a section and its function is to return to the tonic for the start of the next section - that's why it's called a turn-around. A turn-around can also be used as a static vamp, like "a chord progression that goes nowhere", to solo over for a period of time.
Turn-Around: Cmaj7 - A7 - Dm7 - G7
This is the I-VI-II-V progression. A common variation is to replace the I with a III, which gives a III-VI-II-V progression. The above "vanilla" version can be jazzed up in a variety of ways. Higher degrees can be added to the chords and chord substitutions can be used.
Type A: Jazzier
Type B: Even Jazzier, Using Chord Substitutions
Type C: Really Far-Fetched "Out" Type of Reharmonization
Using Minor Pentatonic Scales for Playing on Turn-Arounds
Let's look at the turn-around Cmaj7 - A7 - Dm7 - G7. An easy way to use a minor pentatonic scale is to use the E minor pentatonic scale over the whole progression.
Other ways to use minor pentatonic scales are:
Other Scale Choices for Playing on Turn-Arounds
Let's look at the turn-around Cmaj7 - A7alt - Dm7 - G7alt. It can be handled in the following way:
Check out this excerpt from my written Stockholm solo:
Here is a small collection of I-VI-II-V/ III-VI-II-V licks you may want to check out. Try not to just play a succession of unconnected licks, try to develop a line like in the example above.
Practice these turn-arounds in all keys. There's nothing wrong with spending hours or even days working on different ways to reharmonize a turn-around.
Using These Turn-Arounds
These turn-arounds can be used:
© 2004 Tomas Karlsson. All rights reserved.