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Help with Turnarounds

Discussion in 'General Instruction [BG]' started by Trist6075, Oct 27, 2003.


  1. Trist6075

    Trist6075 Guest

    Mar 6, 2001
    I am very anxious to learn turnarounds. I just am having trouble figuring them out. I did catch the article in BP a few months ago but found it somewhat limited. I would really like to know what goes into them so that I can start making them up myself. Are there any methods you use when creating them or what notes of the scale are ok to use etc. Any links would be great too.
    Preferable rock or blues turnarounds. Thanks guys.

    Tristan
     
  2. Howard K

    Howard K

    Feb 14, 2002
    UK
    :meh: I found that article to be pretty comprehensive!

    You ask of methods that you could use to create them, well, turnarounds are based on the II-V-I chord progression. The aforementioned article in bass player gave many common variations of this, some including substitutions.

    I don't think, to be honest, you're going to find a better introduction to turnarounds than that arcticle?
    I seem to remember it gave a clear explantion of the basic II-V-I and how each subsequent variation worked? I can't imagine that iof you read it thoruoghly and played through each example you could see it as limited? It certainly reinforced my understanding of turnarounds.

    Perhaps you should re-visit it?

    H
    :)
     
  3. cowsgomoo

    cowsgomoo gone to Longstanton Spice Museum

    Feb 8, 2003
    UK
    one device that often produces interesting results is the use of secondary dominant chords... i.e. preceding a chord with a dominant 7 chord a 5th above... this often works well even when the dominant chord you insert has no relation to the key you're in... the sound of the resolution usually makes it work :)

    it can be used all over the place... in a turnaround you could change that II chord Bruce mentioned, from a minor 7 to a dominant 7 to fruit it up a bit :)


    probably the most essential harmonic device you should be aware of for turnarounds is the tritone substitution... this page explains it pretty well.. like the secondary dominant thing.. it works because of the inherent ambiguity of dominant chords

    http://hum.lss.wisc.edu/jazz/substitutions.html
     
  4. ZuluFunk

    ZuluFunk

    Apr 14, 2001
    Pennsylvania
    I also think you should learn the most important technique for turnarounds...silence.

    Empty spaces often do more for the sound as a whole than any 1/2-bar fourish could ever contribute.

    In the words of Sting (to his band in the recent DVD) "wherever you can play less, that's what you should do."

    Also look at the Wooten/Buford video...someting along the lines of - jumping on every turnaround with some cliche only detracts from an otherwise interesting and integral line.
     
  5. Howard K

    Howard K

    Feb 14, 2002
    UK
    Nice qute Zulu... gonna remember that one :)

    secondary dominants, tritone subs.. all good stuff, but you gotta get to grips with the basic II-V-I first, otherwise it'll just confuse you :)
     
  6. Jayhawk

    Jayhawk

    Sep 6, 2006
    Kansas City
    Yes, I am resurrecting a long dead thread, but with a purpose :bag:

    I have found the article mentioned in this thread from the April 2003 issue of BP on the BP website, but the links for the examples no longer work. Does anyone have this article that you can scan & email me? If so, please PM me.

    Thanks.
     
  7. Mahumadi

    Mahumadi Banned

    Apr 19, 2009
    North Eastern PA
    ditto :hyper:
     
  8. suraci

    suraci

    Apr 11, 2005
    you r a bass player- yes?
    I play bass and keys professionally

    your job harmonically speaking is to play the SINGLE best pitch that makes the others in the band, esp chord players, sound resonant.

    I ask myself, not just a C, but a C in which octave
    Then there is the matter of fact that u r playing a melodic line as u connect these various roots.

    your gig is to learn what note sounds best with pianist/ guitarist

    Creating a new turnaround is more advanced- you are not really ready for that- based on your question.

    Spend a few years nailing the best rhythm, best note choice
    that is what we do

    good luck
     
  9. Jayhawk

    Jayhawk

    Sep 6, 2006
    Kansas City
    Yeah, um, thanks ... I don't think you understood my post at all.
     
  10. Me too, please.
     
  11. Stumbo

    Stumbo Wherever you go, there you are.

    Feb 11, 2008
    So. Cal.