Turnarounds

[oilywrag]

Where to start,when it comes to turnarounds what are they?why have them?do all jazz songs have them?are they writen in the piece by the composer or are they added by guitarists?how do they fit in a song without adding to its length?I think finally are there any hard and fast rules that you should know about them?

Now I know that seems a lot of questions but having searched around, I couldn't get a complete answer in one place so perhaps if the questions get answered by more than one person it would be a start.

Cheers Tom

[derek]

It is easy to think about turnarounds from a 12 bar blues perspective, since most of us have played the blues. The last 2 bars can be seen as the turnaround, but the last measure in a simple blues is gonna typically be a V chord since it pulls you to the I the most.

Since most western music is about the V to I tension/release, turnarounds are just trying to get you back to the top. The first chord can be the I chord, but it certainly doesn't have to be. If it isn't, then look for the turnaround to be the V of that first chord. There are books out there that go into all the various ways turnarounds are constructed, but at their basic function, they are pulling you to the first chord in the tune. Hope that helps.

[BigDaddyLoveHandles]

Heh, heh: Stella by Starlight. It's in Bb, and so ends on a Bb chord; but it begins with a Em7b5 chord, so the Bb tonic chord is the turnaround chord. Hmmm... maybe it's time for a thread about this song.

[Reg]

Hey oilywrag...Turnarounds are short or long harmonic progressions (chords), that usually reinforce the tune your playing, more to the point they usually imply or reinforce the harmonic content of tune. A standard turnaround is I VI II V, the actually type of chords changes to fit the tune, Minor, major, dom. or what ever. Any collection of chords could be a turnaround... some work better than others. There are millions... sometimes there pulled from tune, but our ears are so use to the common patterns, you can insert almost anyone anytime. I play short turnarounds before most strong downbeats, beginning, middle or end of tune. The better player you are the more liberties you have... Most tunes employ turnarounds somewhere. They usually fit into existing framework of tune but not always... I usually add Bb6/9 / Ab13 / Gb13#11 / Ab13 / twice at end of Stella, actually add 6 bars for a simple turnaround between soloist, something different or an ending vamp. The hard fast rules are; there are many standard turnarounds that almost part of tunes because their used so much, but if you decide to insert one and it sucks... it's no good. But that's one of the joys of jazz, improvisation... most of the great jazz players I gig with are always looking for grooves or somewhere to make the tune alive, many times turnarounds are that means. During a tune they help set up harmonic areas, and when your soloing you can play through a turnaround whether it's played or not, always adds interest and movement to your lines. If you would like some examples let me know and I'll download some examples... Best Reg

[randalljazz]

1. at most basic: turnarounds are to add interest (relieve monotony) of the typical two measures of tonic at the end of a tune or section, and to 'turn' back to the beginning (or next section).

2. start with, for two measures of Cmajor, play | Cmaj7 Am7 | Dm7 G7 |.

then | Em7 Am7 | Dm7 G7 |

then | C6 A7 | Dm7 G7 | (or use A7b9 in place of A7)

then | C69 A7 | D7 G7 |.

learn in all keys, all tempos.

see aebersold vol 3 and 16.

3. sometimes composers put them in, sometimes they are improvised.

4. after you have a command of the basic, do what our resident pro reg suggests....