Help with this turnaround?

Hello folks.

How would you improvise over the this last two measures of a 12-bar blues?

I7 VI7 II7 V7

Thanks much.

The textbook way is to use the dominant/mixolydian scale of the same roots as the VI, II and V chords. Like if the tune is in C, use the A dom/mixo, D dom/mixo and G dom/mixo. The dominant scale is the same as the major scale of the same root, but with the 7th scale degree flatted a half step, so the A dominant scale has G instead of G#. Throw in any other blue notes you want, like b3 and b5.

Some major pentatonic of the same roots may have some of the sounds you are looking for, too.

The textbook way is to use the dominant/mixolydian scale of the same roots as the VI, II and V chords. Like if the tune is in C, use the A dom/mixo, D dom/mixo and G dom/mixo. The dominant scale is the same as the major scale of the same root, but with the 7th scale degree flatted a half step, so the A dominant scale has G instead of G#. Throw in any other blue notes you want, like b3 and b5.

Some major pentatonic of the same roots may have some of the sounds you are looking for, too.

Thanks for the response Leon. Believe or not that's the way I've been approaching it and I'm not happy at all with what I've come up with. The good news is you've confirmed my approach. The bad news is I'm actually going to have to work at getting better. :lol:

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I'd play something simple.

Try what Leon said, but try to emphsize the third and the seventh of the chords. Those are the notes holding the momentum of that turnaround. Especially the major thirds of the VI7 and the II7, as they stick out, not being diatonic to the basic key. That's pretty much what mjark does in the video above as well.

Another approach, with a different sound, is to just play from the blues pent of the I.

It may seem a silly approach, but, years ago when I'd get stuck, I would record the changes over and over on one track, and then just start singing/humming/whistling on another track. It worked well! When I found something I liked, then I'd learn it on guitar.

Thanks so much to all of you for your great ideas; this is one of the reasons that TDPRI is so great.

Depends on the feel you are looking for, I often find changing key on every chord sounds forced, as though it's just an exercise. Maybe try staying within the major pentatonic/ mixolydian until you get to the II7 chord then switch to minor/ blues scale with flat V. So if playing in C stick with C mix until you are playing the D7 then move to C minor. The E flat and G Flat will sound strong and resolve back nicely to the E natural on the G7.

It helps if you are comfortable playing both minor and mixolydian in the same position, and preferably in at least 2 positions. I struggled with this for years, stuck in the same pentatonic rut until it clicked about 4/5 years ago.

I'm another proponent of keeping that one simple, the band will outline the changes, you just have to imply them in an attractive (for lack of a better term) way. With that many chords over a couple of measures it can get pretty busy if you're not careful.

Check out the man, plenty of examples in this one. The one around 3:35 really shows how simple it can be and still be effective (ii7)--

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Another cool tune done in a jazzier context is Boogaloo Joe Jones' version of Don't Deceive Me (Please Don't Go) which if you google you should be able to track it down on various sites. You can get a lot of ideas just by learning the way he plays the head.

I'll contribute a line in solid 8th notes, just a line now, use it at your discression.

In C

1---12--10----------------------------------------------------------------
2-----------13--11--10--------------------------------13--12----------------
3------------------------12-------------------11--14-----------12--10--9------------
4----------------------------14--11--12--14-----------------------------------