Master the V‑IV‑I Blues Turnaround in A: Real‑World Guide

Ever noticed how some blues endings just snap into place and leave everything feeling resolved? That sound is no accident. For blues guitarists, the secret sauce often hides in the V–IV–I turnaround. It’s the classic move—a staple in the last two bars of countless twelve-bar progressions. But here's the catch: while the turnaround sounds simple, nailing it with real-world voicings, smooth transitions, and creative variations is trickier than most think. Many guides show the basic chords and call it a day.

This guide bridges that gap. It lays out exactly how to play the V–IV–I blues turnaround in A, breaks down why it works, and shows how to stylize it using jazz chords and SRV-inspired licks. Whether you’re looking to strengthen your comping, spice up intros and endings, or unlock expressive improvisation, this walkthrough arms you with proven voicings, killer rhythmic tips, and go-to variations. Let’s put an end to stiff-sounding blues endings for good.

What You Need to Master the V‑IV‑I Blues Turnaround Guitar

The V–IV–I blues turnaround in A is built on some key ingredients. And no, it's not just about memorizing three chords. Getting it right requires specific gear, a handful of reliable chord shapes, and a solid sense of timing. So here’s what you’ll want on hand before heading into practice mode:

• Any guitar will do—electric or acoustic both work. Single-coil pickups tend to accentuate clarity, but humbuckers bring warmth and punch.
• Basic comfort with open chords and barre chords. The A7, D7, and E7 shapes are essential, including both open and movable voicings.
• Familiarity with the key of A and standard twelve-bar blues progression.
• Optional: A capo (for shifting keys or voicings), a metronome (for groove), and a slow-down app (great for learning fast licks by ear).
• Backing tracks in A—either canned tracks or a looping pedal like the Boss RC-1—are huge for practice.

Essential Chord Shapes for the Key of A

At the heart of every V–IV–I turnaround in A sits three core chords:

• A7 – Open shape: X02020. Barre shape at the 5th fret (root on the E string): 575655.
• D7 – Open shape: XX0212. Barre at the 5th fret (root on the A string): X57575.
• E7 – Open shape: 020100. Barre at the 7th fret (root on the A string): X79797.

For more color, try jazz extensions. E9: 020102 (open) or X7677X (barre). D13: X54577. These add upper harmonics, making turnarounds pop. Try using both open and barre versions for the best ear-training.

Recommended Practice Tools

There’s no substitute for a metronome when it comes to timing. Backing tracks bring the context and a looper helps to lay down the I‑IV‑V framework on the fly. And here’s a tip: practicing both ascending and descending melodic ideas, as recommended by GuitarTricks, cements the turnaround in memory. Mix in slow-down apps like Transcribe! to break down quick licks or rhythm variations.

Step-by-Step Guide: Playing the V‑IV‑I Blues Turnaround in A

Ready to break down the core V–IV–I blues turnaround in A? Here’s what actually happens: you move from E7 (V) to D7 (IV), then resolve to A7 (I). It all happens in two quick bars—usually bars 11 and 12 of a twelve-bar blues.

Here’s the basic formula:

• E7 (V) at bar 11
• D7 (IV)
• A7 (I) at bar 12 (sometimes returning to E7 for a turnaround loop)

Now for the hands-on details—voicings, rhythm, and how to keep everything tight.

Step 1: Play the E7 (V) Chord

The open E7 is the go-to for most. Put your first finger on the first fret of the G string and your second on the second fret of the A. Strum all six strings—tough to beat for that fat sound. Try the barre E7 at X79797 for a cleaner, tighter voicing. Priority is clarity—make sure every note rings out.

Strumming? Use a straight shuffle—downstrokes on the hard beats, upstrokes on the swing. And don’t be afraid to mute the low E with your thumb for added control. Works at any tempo.

Step 2: Move to the D7 (IV) Chord

Sliding from E7 into D7 should feel natural. Open D7 is quick—just XX0212. If you prefer, use the barre at X57575 to keep voicings consistent up the neck. The key is minimal finger movement. Play around with transitional embellishments: slide the pinky up a fret for a smooth voice-leading move, or hammer on the high E string to taste.

Listen for the root drop from E to D in the bass—this is classic blues. Make the change punchy by accenting the chord right on the beat.

Step 3: Resolve to the A7 (I) Chord

Here’s where it lands. Open A7 (X02020) nails the sound, but the barre at 575655 brings sustain. For a bluesier edge, hammer from A major to A7—just add the pinky to the G string (3rd fret) for a quick shuffle.

Resolving? Let the high E string ring. That’s the sound of blues coming home.

Putting It Together: The Basic V‑IV‑I Turnaround

Combine those voicings and practice this movement, keeping the groove even:

• E7 (bar 11)—hold for two beats
• D7—two beats
• A7 (bar 12)—four beats

Pro tip: loop the last four bars of a twelve-bar backing track (A7–E7–D7–A7), then repeat. That’s how muscle memory builds fast. Tab out the movement and count aloud—a classic tip from Wikipedia's primer on blues turnarounds. And when playing with a band, keep your cues big and clear—this is where bands reset the groove or ramp up into solos.

Want to hear it in action? GuitarPlayer's educational features break down both intro and turnaround functions with real audio examples. Practice with their suggested phrasing and timing, then mix in your sense of groove. Turnarounds move quick—so keep your changes snappy, and your rhythm locked in tight.

Voice-Leading and Improvisation Techniques for the V‑IV‑I Turnaround

Plain chord changes get the job done. But the real magic of a fluid blues turnaround comes from voice-leading—the way individual notes move from one chord to the next. It’s these subtle shifts that make transitions smooth, and create the illusion of motion even when fingers hardly move. Here’s how to tap into that sound:

Voice-Leading with Descending Intervals

Descending lines turn stock changes into storylines. A classic trick is to let the G note (rooted in E7) drop down to F# or E as you move towards D7 and A7. Try this lick: G on the open G string (E7), slide it down to F# for D7, then land on E for A7. Add the octave root on the low E string for more depth—this doubles the root, a technique detailed by GUITARlab’s turnaround guide.

Chromatic moves add tension and surprise. Walk down the upper voice chromatically—C# to C to B—as the chords move. This only takes one or two fingers but makes the progression sound slick and intentional. Works over both open and barre voicings.

Improvising Over the Turnaround

Here’s where improvisers shine: instead of noodling aimlessly, target the chord tones themselves. Use the A major and minor pentatonic scales—especially the notes that fall on each chord’s root, third, or seventh.

For example:

• E7: focus licks around E, G#, B, D
• D7: target D, F#, A, C
• A7: land on A, C#, E, G

Phrase with intent—anticipate where the chords are headed, and try landing on guide tones a half-beat before the chord switches. According to GuitarPlayer’s lessons, this anticipation drives the tune forward and gives solos a professional edge. Use slides and half-step bends for added color—especially into the flatted seventh (G on A7, C on D7).

Creative Variations: Jazz Extensions and SRV-Inspired V‑IV‑I Turnarounds

The standard E7–D7–A7 is reliable. But what if you want to spice things up? The V–IV–I turnaround is a playground for creative voicings and licks—ranging from smoky jazz flavors to gritty Texas blues. Here’s how to expand your turnaround “palette” and build endings that really tell a story:

Jazz Up Your Turnaround: Extensions and Substitutions

Want more color? Swap out basic sevens for extensions like E9 (X7677X), D13 (X54577), or add chromatic passing chords (like Eb9 before D7). Let the high B in E9 ring for a glassy edge, or stack rides on 9ths for harmonic tension. Diminished passing chords—especially between E7 and D7—echo classic jazz and blues motifs. This style adds sophistication and works great as both an intro and a closer.

SRV-Style Blues Licks Over V‑IV‑I

Stevie Ray Vaughan popularized blending major and minor pentatonics, letting lead lines sound equally sweet and gritty. Over V–IV–I, mix A major pentatonic (A, B, C#, E, F#) and minor pentatonic (A, C, D, E, G) for surprise blues bends and gritty vibrato. Try bending G (minor third) towards C# (major third) to add tension in your turnaround lick—SRV’s signature in tunes like “Pride and Joy.”

Alternate licks in bars 11 and 12. Walk down linearly (A–G–F#–F–E) during the E7 to A7 move. Use double stops or sixth intervals to create a Texas shuffle vibe. Experiment with thumb-over bass lines, mimicking SRV’s fuller approach.

Exploring Tonal Ambiguity: I–Ib7–IV–IVm–I–V

For a deeper, smokier turnaround sound, slip new chords into the mix. Scale up to I–Ib7–IV–IVm–I–V (in A: A–Ab7–D–Dm–A–E7). This sequence pivots through chromatic bass notes, creating a sense of emotional ambiguity only found in the best blues. The IVm (Dm) slot delivers a haunting, gospel-inspired twist that surprises the ear. Major and minor pentatonic licks fit equally well, letting you craft a musical question that the next chorus answers.

SRV heavily used this sequence, often ending licks on the ninth (B) or rotating into E7 to loop the form. Experiment with leading into the V (E7) a half-beat early—you’ll hear why masters make their turnarounds feel both inevitable and fresh.

Troubleshooting Common Issues with the V‑IV‑I Blues Turnaround

Not every turnaround lands with confidence. The most common issues? Transitions that stumble, stiff timing, and a turnaround that sounds like a finger exercise rather than music. Fortunately, these stick points are easy to fix with targeted practice.

Smoothing Out Chord Changes

Most players struggle with finger movement—lifting too many fingers between chords. The trick is to keep common fingers down when shifting from E7 to D7, and use small movements. Practice “ghosting” the chord changes silently before adding strumming. This builds muscle memory fast.

Improving Groove and Timing

Try setting your metronome to 60–80 bpm and emphasize the backbeat with strong downstrokes. Practicing to a drum loop or backing track in A locks in the feel. GuitarTricks recommends alternating ascending and descending melodic ideas as a quick way to internalize rhythmic flow.

Making the Turnaround Musical

Turnarounds shouldn’t sound mechanical. Add dynamics—soft strums, loud accents—and phrase like a singer. Study classic recordings from blues legends, and try copying phrasing with a looper pedal. Aim for one punchy phrase, not just three static chords. This is where the turnaround switches from “chord change” to “musical statement.”

Conclusion

There’s a reason the V–IV–I turnaround in A anchors the sound of classic blues—it’s both simple and endlessly adaptable. Mastering the core movement from E7 to D7 to A7 solidifies the backbone of any blues set, but those who experiment with voice-leading, chord extensions, and expressive licks take it to another level. The best players keep it fresh by playing with rhythm, jazz flavors, and SRV-inspired twists. So, the next time a twelve-bar blues comes around, mix in new voicings and play with anticipation—your turnarounds will sound anything but stock. Want to dig deeper? Try applying these tricks in different keys, or listen closely to blues icons. That’s where the real growth happens.

Frequently Asked Questions

Q What is a blues turnaround?

A blues turnaround is a short chord sequence—usually found in the last two bars of a twelve-bar blues progression—that signals the end of one verse and sets up the next. It typically uses the V, IV, and I chords, creating musical tension and release.

Q How do you play a V‑IV‑I turnaround on guitar?

To play a V–IV–I turnaround in A on guitar, use the chords E7 (V), D7 (IV), and A7 (I) in sequence—often positioned in bars 11 and 12 of a twelve-bar blues. You can use open or barre voicings and experiment with extensions like E9 or D13 for added color.

Q What variations can you use in a blues turnaround?

Variations in blues turnarounds include adding jazz extensions (9ths, 13ths), using chromatic passing chords, mixing major and minor pentatonic licks (SRV-style), and changing up the chord order (e.g., I–Ib7–IV–IVm–I–V). Each option changes the turnaround’s mood and character.

Q Why does the IV chord intensify the V before resolving to I?

The IV chord (D7 in A) creates additional tension by moving against traditional harmony; it intensifies the V chord’s (E7) seventh degree before both resolve to the tonic (A7). This backward movement gives blues its characteristic sound and makes the turnaround more satisfying.