Turnaround (music)

This article is about the musical technique. For other

music-related uses, see Turnaround (disambiguation).
In jazz, a turnaround is a passage at the end of a section
Tadd Dameron turnaround with resolution. Play

I-vi-VI711 -V
V-IV-I (blues turnaround)
I-III-VI-II7 (Tadd Dameron turnaround)
Turnarounds typically begin with the tonic (I) and end on
the dominant (V7), the next section starting on the tonic
(I). They may also end on II7 (dominant substitute).[6]
which leads to the next section. This next section is most Thus when used in a twelve bar blues pattern, the twelfth
[1]
often the repetition of the previous section or the entire bar may end on the dominant. All of the chords in a
[1]
turnaround
may
be
seventh
chords.
piece or song.
ii-V7-I turnaround in C Play

The turnaround may lead back to this section either

harmonically, as a chord progression, or melodically.

2 Harmonic alternatives
Sometimes, especially in blues music, musicians will take
chords which are normally minor chords and make them
major. The most popular example is the I - VI - ii - V
- (I) progression; normally, the vi chord would be a minor chord (min, 7, 6, -(6), etc.) but here the major
third allows for a more interesting modulation. Take the
example in C major: C - A - d min - G (dom) . The third
of the VI chord (in this case, C) allows for chromatic
movement from C (the root of I) to C (the third of VI)
to D (the root of ii).

Typical turnarounds

Similar chromaticism and harmonic interest can be

achieved by the use of a secondary dominant, which is
also useful for turnarounds. The simplest example is
V7 /V - V7 - I, instead of ii - V - I. Another popular
turnaround which may be considered as a secondary dominant analysis is ii - V/V (or II) - I, which is a variation
on the standard ii - V - I turnaround. In jazz parlance,
use of the II instead of the V is known as tritone substitution. Using V/V instead of V allows for a smooth
chromatic descent. Again, lets examine C major; the
original turnaround would be d min - G (dom) - C, while
the modied would be d min - D - C . The obvious chromatic movement is thorough; it is apparent in the roots
(D - D - C), thirds (F - F - E; F is often used as a pedal
tone), and fths (A - A - G).

I-vi7-ii-V7 turnaround in C[2] Play .

III-VI-II-V turnaround often appears in the bridge of jazz standards.[3] Play

Typical turnarounds in jazz include:

I-vi-ii-V[2] (ii-V-I turnaround, circle progression)
I-VI-II-V[4] (I-V/ii-V/V-V)

While in that particular example the V/V can be considered a Neapolitan chord, the more typical functional

I-iiio -ii7 -V7[5]

1

analysis in the context of the jazz idiom is that it is

not a secondary dominant (V7 /V) at all, but II7 , a
substitute dominant[7] (tritone substitution). Harmonically, II7 functions exactly as V7 /I does, because the two
chords enharmonically contain the same tritone, which is
the critical harmonic element in the resolution from dominant to tonic. The half step downward motion of the
roots of those chords, as seen in ii - II7 - I, forms the
familiar line clich", arriving satisfyingly at the tonic.
NB: Secondary dominant refers to the functional dominant of the keys dominant or another non-tonic chord,
while substitute dominant refers to an alternative functional dominant of the keys tonic. The extending of dominants to secondaries (or beyond) is a practice which remains rmly inside the circle of fths, while the substitution of dominants replaces that cycle with one of minorsecond intervals.
I-vi-ii-V may be transformed through various chord substitutions. For example, the vi and ii chords may be substituted with dominant chords, giving I-VI7 -II7 -V or CA7 -D7 -G,[8] the Ragtime progression. The tritone substitution may be applied to the vi and V chords, giving
C-E7 -D7 -D7 , or to every chord but the I, giving C-E7 AM7 -D7 .[9]

See also
Approach chord
Backdoor progression
Montgomery-Ward bridge
Passing chord
Sears Roebuck bridge

References

[1] Randel, Don Michael (2002). The Harvard Concise Dictionary of Music and Musicians. ISBN 0-674-00978-9.
p.693
[2] Boyd, Bill (1997). Jazz Chord Progressions, p.43. ISBN
0-7935-7038-7.
[3] Boyd, Bill (1997). Jazz Chord Progressions, p.56. ISBN
0-7935-7038-7.
[4] Boyd (1997), p.86.
[5] Boyd (1997), p.90.
[6] Coker, et al (1982). Patterns for Jazz: A Theory Text
for Jazz Composition and Improvisation, p.118. ISBN 089898-703-2.
[7] , . Harmony 4 course book, . Berklee College of Music.
[8] Boyd (1997), p.44.

[9] Boyd (1997), p.46-47.

REFERENCES

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