TURNAROUND IMPROV Atypical turnaround in a chord progression often consists of IVI-i-V-l harmonic movement, which, for example, could mean 8:6-G7-Cm7-£7-B46 in the key of B (G7 being a common substitute for the Gm7 that occurs naturally in the Be major scale). We call ita turnaround because it so frequently functions to bring us to the top of the tune again, from the end of one chorus of a repeating song form. But this chord sequence is quite frequently found at the beginning or in the middle of a song— sometimes twice or more in a row—and we would do well as improviser to consider how to approach it. This is especially true when the changes last only two beats each ata bright tempo! Here's a basic outline of this sequence for a major-key version in jazz, played twice in a row with two beats per chord, with possible chord shapes. We'll stay very simple these first two measures, then vary ita bit for the next go-around with a different kind of major chord for | and 9ths on our VI7 and V7 chords, EXAMPLE 1 Bt lean. Dbmai? G9 cu? Fo Braj? =e & eg EE Lets first try improvising on this progression using only tones from the scale of the key: B: major. Here's a refresher on that scale, in the position welll use it: ‘And now here's an example of turnaround improv purely within the major scale. EXAMPLE 2 Bt L210 (0-13) bs GT cm m be a == = =i Notice that, even though we never leave the Bb major scale, you can hear a sense of moving away from the home chord and back again in the line as the changes progress, That's because this Idea was constructed in such a way as to reflect the sound of the basic Bt, Cm7, and F7 chords along the way, even if it kind of coasts through G7. 6 100 JAZZ LESSONS | GUITAR LESSON GOLDMINE