← All exercises
Exercise
— switch — The Cycle Shells with Color Rootless Voicings Bud Powell Left Hand The Turnaround Tritone Substitution Reharm the V Diatonic Sevenths Secondary Turnaround Minor ii–V–i Minor ii-V-i with ♭9 Minor Turnaround Diatonic 7ths in Minor Backdoor Progression Twelve-Bar Blues Minor Blues Bird Blues Blues Stride LH Blues Walking Bass Rhythm Changes Boogie Blues Shuffle Rhythm Changes Bridge Blues Rootless (Evans) Coltrane Changes Blues Pedal Point Standard Intro Blues Block Chords Two-Handed Comping Blues Freddie Green Charleston Comping Bebop Blues Comp Freddie Green Comping Blues Guide Tones Walking Bass Charleston Blues Tritone-Sub Walking Bass Bud Powell Blues Drop Two Two-Handed Modern Blues Stride Bass Stride with Melody Quartal Voicings Upper Structure Triads Hybrid Voicings Kenny Barron Voicing Sus Chord Vamp The Mu Chord Maiden Voyage Chord 4-Way Close Pedal Point Lydian Vamp Phrygian Vamp Bossa Nova Guide Tones Bebop Scale Dominant Bebop Dorian Bebop Bebop Minor The Enclosure ii-V-I Lick Pentatonic Patterns Plain Locrian Melodic Minor Dorian ♭2 Lydian Augmented Lydian Dominant Mixolydian ♭6 Locrian ♮2 Altered Scale Harmonic Minor Phrygian Dominant Half-Whole Diminished Whole-Tone Scale Minor Blues Major Blues Aeolian (Natural Minor) Dorian Mode Ionian (Major) Lydian Mode Minor Pentatonic Mixolydian Mode Phrygian Mode Whole-Half Diminished
(MED. SWING ♩=80 )
12
Jazz Piano · ♭III - ♭VI - iiø - V - i
Minor Turnaround
Five-chord wraparound in the minor mode, twelve keys
Play exercise
The minor turnaround substitutes two major chords —
♭III (the relative major) and ♭VI
(its IV) — for the iii and vi of the major turnaround. The rest
is identical to the standard minor iiø-V-i cadence. Five chords —
three moves by P4, with one ♭VI→iiø tritone jump in the middle.
The shells alternate A/B-form (3-7 / 7-3) just like the major
turnaround, so each transition moves one voice a step. The
voicings are reusable: the ♭III maj7 has the same shell as the
relative-major's I chord; the iiø shell is identical to the
regular ii m7's shell; only the i's m7 quality differs from the
major I's maj7.
♭III maj7 Relative major — diatonic to natural minor.
♭VI maj7 The IV of the relative major — also diatonic.
Jump to
Cm Fm B♭m E♭m A♭m C♯m F♯m Bm Em Am Dm Gm
C
m
7
1
3
1
2
1
X
3fr
G
7
3
2
1
O
O
O
E
1
2
3
4
X
X
D
ø
X
X
8fr
A
1
1
1
3
X
X
1
3
1
1
1
1
F
m
7
C
7
3
2
4
1
O
O
A
1
1
1
3
X
X
4
3
1
1
1
X
G
ø
X
X
D
B
m
7
1
3
1
2
1
X
F
7
1
3
1
2
1
1
D
4
3
1
1
1
X
C
ø
X
X
6fr
G
4
3
2
1
X
X
E
m
7
1
2
3
4
X
X
B
7
1
2
1
3
1
X
G
4
3
2
1
X
X
F
ø
X
X
11fr
C
X
X
6fr
A
m
7
1
3
1
1
1
1
4fr
E
7
1
3
2
4
X
X
C
X
X
6fr
B
ø
X
X
4fr
F
X
X
11fr
C
m
7
4
2
1
X
O
O
G
7
1
3
1
2
1
1
4fr
E
3
1
2
O
O
X
D
ø
X
X
9fr
A
2
1
3
X
O
O
F
m
7
1
3
1
1
1
1
C
7
2
3
1
4
X
X
A
2
1
3
X
O
O
G
ø
X
X
2fr
D
1
2
3
X
X
O
B
m
7
1
3
1
2
1
X
F
7
1
3
1
2
1
1
D
1
2
3
X
X
O
C
ø
X
X
7fr
G
4
3
2
1
X
X
2fr
E
m
7
2
O
O
O
O
O
B
7
2
1
3
4
X
O
G
4
3
2
1
X
X
2fr
F
ø
X
X
12fr
C
3
2
X
O
O
O
A
m
7
2
1
X
O
O
O
E
7
2
1
O
O
O
O
C
3
2
X
O
O
O
B
ø
X
X
5fr
F
3
2
1
X
X
O
D
m
7
2
1
1
X
X
O
A
7
1
3
X
O
O
O
F
3
2
1
X
X
O
E
ø
X
X
10fr
B
1
3
2
4
X
X
G
m
7
1
3
1
1
1
1
3fr
D
7
2
1
3
X
X
O
B
1
3
2
4
X
X
A
ø
X
X
3fr
E
1
2
3
4
X
X
The Daily Drill
Hear the modal mix
4 min Play one key. The first two chords (♭III, ♭VI) sound major; the last three (iiø, V, i) sound minor. That tilt is the whole minor-mode signature. 10 min Cycle three keys at a time, ♩ = 70. The shells overlap with the major turnaround's shells for iiø and V — your hand already knows half the work. 4 min Try the standard minor cadence (iiø-V-i alone) then the full minor turnaround (♭III-♭VI-iiø-V-i). Hear how the two added chords extend the cadence and create a sense of "approaching" the resolution from a wider harmonic distance. 3 min Apply: play the last three bars of Autumn Leaves ' A section (the half-cadence into Gm: Am7♭5 – D7 – Gm ) — that's the iiø–V–i tail of this exercise. The full Autumn Leaves cycle (Cm7 – F7 – B♭maj7 – E♭maj7 – Am7♭5 – D7 – Gm) is the longer iv–VII–IIImaj–VImaj–iiø–V–i pattern; this five-chord turnaround drops the iv–VII front, keeping the same destination cadence. Why ♭III and ♭VI as the substitutes In the major turnaround (iii-vi-ii-V-I), iii and vi share most of their notes with I and ii — they're diatonic substitutes that extend the same harmonic field. In minor, the parallel-diatonic substitutes are the ♭III (relative major) and ♭VI (its IV) — major chords drawn from the natural minor scale itself. Same idea, transposed to the minor mode's available chord palette.
Two majors, then the minor cadence. The whole minor mode in five chords.