All courses > Instruments and Vocal > Eletric Guitar ::

Turnarounds in 12-Bar Blues: Function, Timing, and Essential Endings

Capítulo 6

Estimated reading time: 8 minutes

What a Turnaround Is (and What It Does)

A turnaround is the musical signal that cycles the 12-bar form back to the top. In most standard 12-bar blues, it lives in bars 11–12, creating forward motion and clearly setting up bar 1 (the I chord). The same idea can also be used as a final ending: instead of “turning around” into bar 1 again, you resolve and stop.

Think of a turnaround as a short, recognizable phrase that says: “Here comes the top again.” Your job as a guitarist is to place it in time, make it feel inevitable, and land bar 1 confidently.

Timing First: Exactly Where It Starts and How Long It Lasts

Standard placement: bars 11–12

In a typical 12-bar chorus, the turnaround occupies the last two bars:

Bar	Function	What you do
11	Setup	Start the turnaround idea (often on V or a passing chord)
12	Launch	Finish the phrase so bar 1 feels “pulled” into place

How it sets up bar 1

The most important moment is the downbeat of bar 1. A turnaround works when it creates tension that releases into that downbeat. Practically, that means:

Make the turnaround phrase feel like it’s leading somewhere, not “ending.”
Leave enough rhythmic space (or a clear last note) so the listener can feel the reset to bar 1.
Practice the transition: bar 12 beat 4 into bar 1 beat 1.

Common start points inside bar 11

Not every turnaround has to begin exactly on bar 11 beat 1. These are the most common starts:

Continue in our app.

Listen to the audio with the screen off.
Earn a certificate upon completion.
Over 5000 courses for you to explore!

Or continue reading below...

Download the app

Bar 11, beat 1: full two-bar turnaround (most common for learning).
Bar 11, beat 3: “late” turnaround; bar 11 begins more stable, then you kick the phrase in halfway through.
Bar 12, beat 1: quick tag; bar 11 stays simple, bar 12 does the work.

In this chapter, each example is written as a full two-bar turnaround starting on bar 11 beat 1, because it trains the clearest timing and looping.

Practice Rule: Loop Seamlessly (Turnaround → Bar 1 Immediately)

Your core drill is: play bars 11–12 as the turnaround, then immediately start bar 1 again without hesitation. This is the skill that makes turnarounds sound “real” in a band context.

Use this loop structure:

Bar 11 (turnaround) | Bar 12 (turnaround) | Bar 1 (restart the groove on I)

Set a metronome. Count out loud. Don’t stop to admire the lick—make it cycle.

Turnaround Library (with Chords/Notes, Rhythm, Fingering, and Count Guide)

1) I–VI–II–V Movement (Jazz-blues style motion, still works in straight blues)

This is the classic “cycle” movement. In blues, you can treat these as dominant 7th colors for a strong pull back to I.

Key of A (bars 11–12): A7 → F#7 → B7 → E7

Chord/notes: | A7 F#7 | B7 E7 |

Rhythm: two beats per chord (a steady “two-beat hit” feel). Strum short, slightly muted hits, or play tight chord stabs.

Fingering (compact, movable shapes):

A7: x-0-2-0-2-0 (open) or 5-x-5-6-5-x (partial)
F#7: 2-x-2-3-2-x (partial) or 2-4-2-3-2-2 (full)
B7: x-2-1-2-0-2 (open) or 7-x-7-8-7-x (partial)
E7: 0-2-0-1-0-0 (open) or x-7-6-7-5-x (partial)

Count it (two bars of 4/4):

Bar 11: 1  & 2  & 3  & 4  &   (A7 for beats 1–2, F#7 for beats 3–4)  Bar 12: 1  & 2  & 3  & 4  &   (B7 for beats 1–2, E7 for beats 3–4)

Step-by-step drill:

Step 1: Clap and count the two-bar rhythm: “1-&-2-& 3-&-4-&” twice.
Step 2: Play only the roots (A, F#, B, E) on beats 1 and 3 to map the motion.
Step 3: Add the chord stabs on beats 1, 2, 3, 4 (or just on 1 and 3 if you want it sparser).
Step 4: Loop: play the two bars, then hit A7 on bar 1 beat 1 immediately.

Key of E (bars 11–12): E7 → C#7 → F#7 → B7

Chord/notes: | E7 C#7 | F#7 B7 |

Rhythm: same two beats per chord.

Fingering (practical options):

E7: 0-2-0-1-0-0
C#7: x-4-3-4-2-x (partial) or 4-6-4-5-4-4 (full)
F#7: 2-x-2-3-2-x
B7: x-2-1-2-0-2

Count it:

Bar 11: E7 (beats 1–2), C#7 (beats 3–4)  Bar 12: F#7 (beats 1–2), B7 (beats 3–4)  Bar 1: E7 on beat 1

2) Dominant-Based V–IV–I Tag (strong “blues ending” flavor)

This is a compact tag that can function as a turnaround (to restart) or as a final ending (to stop). The sound is direct: V pulls to IV, then resolves to I.

Key of A (bars 11–12): E7 → D7 → A7 (tag)

Chord/notes: | E7 D7 | A7 (E7 pickup optional) |

Rhythm option A (simple, very common): two beats each for E7 and D7, then hold A7 for the whole bar 12.

Fingering (easy open-position):

E7: 0-2-0-1-0-0
D7: x-x-0-2-1-2
A7: x-0-2-0-2-0

Count it (option A):

Bar 11: 1-&-2-& (E7)  3-&-4-& (D7)  Bar 12: 1-&-2-&-3-&-4-& (A7 held/steady)  Bar 1: A7 again on beat 1

Rhythm option B (more “tag” motion): hit A7 on beats 1–2, then play a quick E7 on beats 3–4 to “kick” you into bar 1.

Count it (option B):

Bar 11: E7 (beats 1–2), D7 (beats 3–4)  Bar 12: A7 (beats 1–2), E7 (beats 3–4)  Bar 1: A7 on beat 1

How to use it as a final ending: play option A, then on bar 12 stop cleanly after a final A7 hit (for example, hit on beat 1 and let it ring). The difference is intention: no “pickup” back to bar 1.

Key of E (bars 11–12): B7 → A7 → E7 (tag)

Chord/notes: | B7 A7 | E7 (B7 pickup optional) |

Fingering (open-position):

B7: x-2-1-2-0-2
A7: x-0-2-0-2-0
E7: 0-2-0-1-0-0

Count it (option B feel):

Bar 11: B7 (beats 1–2), A7 (beats 3–4)  Bar 12: E7 (beats 1–2), B7 (beats 3–4)  Bar 1: E7 on beat 1

3) Compact Single-String Turnaround (top strings, quick to deploy)

This style is great when you want a turnaround that feels like a lick rather than chord movement. You’ll play it on the B and high E strings, which keeps it audible and easy to fit over many rhythm parts.

Key of A (two-bar lick on B and high E)

Chord/notes (frets): Use this as a two-bar phrase. Numbers are frets; play on the indicated string.

Bar 11 (B string): 5–6–7–5     Bar 11 (high E): 5–5 (optional double hit)  Bar 12 (B string): 7–6–5        Bar 12 (high E): 5  → resolve to A feel, then restart bar 1

Suggested picking: alternate picking, or all downstrokes for a tougher attack. Keep notes short (light palm mute or left-hand release).

Fingering (left hand):

B string 5 = index
B string 6 = middle
B string 7 = ring
High E string 5 = index

Rhythm (swing/shuffle-friendly eighths): treat it as a steady stream of swung eighths. If you prefer straight timing, keep it even—either way, lock to the pulse.

Count it (one clear way):

Bar 11: 1-& 2-& 3-& 4-&  (B:5 on 1, B:6 on &, B:7 on 2, B:5 on &; E:5 on 3, E:5 on &; fill remaining with light space or repeat B:5)  Bar 12: 1-& 2-& 3-& 4-&  (B:7 on 1, B:6 on &, B:5 on 2, E:5 on &; leave space so bar 1 lands hard)

Make it function like a turnaround: the lick should feel like it’s “asking” for bar 1. The easiest way is to leave a small gap right before bar 1, then hit your bar 1 groove confidently on beat 1.

Key of E (same shape idea, moved to match the key center)

Chord/notes (frets):

Bar 11 (B string): 12–13–14–12   Bar 11 (high E): 12–12 (optional)  Bar 12 (B string): 14–13–12      Bar 12 (high E): 12  → restart bar 1 on E

Fingering: same pattern: index (12), middle (13), ring (14).

Call-and-Response Loop Practice (Turnaround → Bar 1)

This is how you train seamless looping: you answer your own “call” with the restart.

Exercise format

Call: play a steady groove for bars 9–10 (or just imagine it), then play the two-bar turnaround (bars 11–12).
Response: immediately play bar 1 again (your main I-chord groove) without breaking time.

Concrete drill in A (repeat for each turnaround)

Step-by-step:

Step 1: Set a metronome and count 12 bars quietly, but say out loud “bar eleven… bar twelve… bar one.”
Step 2: Play only bars 11–12 (turnaround), then bar 1 (restart). Ignore the rest of the form for now.
Step 3: Expand: play bars 9–10 as your normal groove, then bars 11–12 turnaround, then bar 1 restart.
Step 4: Record yourself and listen for the most common issue: the turnaround is fine, but bar 1 arrives late. Fix by simplifying the last beat of bar 12.

“No-gap” challenge (advanced timing control)

Once you can loop cleanly, try the opposite approach: do not leave space at the end of bar 12. Keep your subdivision steady and still land bar 1 perfectly on the downbeat. This tests whether you truly feel the bar line.

Now answer the exercise about the content:

When practicing a turnaround in a 12-bar blues, what is the core looping drill that builds real timing and makes the turnaround feel natural in a band context?

You are right! Congratulations, now go to the next page

You missed! Try again.

The key drill is to loop the turnaround (bars 11–12) straight into bar 1 on the I chord with no hesitation, so the downbeat of bar 1 lands confidently and in time.