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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 )
5
Jazz Piano · iii–vi–ii–V–I
The Turnaround
Five-chord wraparound in all twelve keys, shell voicings
Play exercise
The iii and vi chords aren't really new harmony — they're
diatonic chords that share most of their notes with I and ii.
What they give you is two extra steps in the cycle of
fourths : iii → vi → ii → V → I, every chord a fourth
from the next.
The shell voicings alternate A / B / A / B / A within each key,
so the bottom voice stays close (3 of iii ≡ ♭7 of vi, then 3 of
ii ≡ ♭7 of V, etc.). Four chord changes, four single-voice moves.
The hand barely shifts.
Stepwise descent Each shell tone moves a half- or whole-step at every change.
Diatonic only Every note belongs to the parent major scale; nothing exotic.
Jump to
C F B♭ E♭ A♭ D♭ G♭ B E A D G
C
3
2
X
O
O
O
G
7
3
2
1
O
O
O
E
m
7
2
O
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O
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O
D
m
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1
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O
A
m
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O
F
3
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1
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X
O
C
7
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O
O
A
m
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O
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O
G
m
7
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3
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1
1
1
3fr
D
m
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1
X
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O
B
1
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F
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O
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3fr
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3fr
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m
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m
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3fr
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3fr
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E
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3fr
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4fr
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4fr
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2fr
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O
The Daily Drill
End your phrases
3 min Practice the last two bars of a standard you know (anywhere a turnaround lives) and play the iii–vi–ii–V–I in the home key, slowly. 10 min Cycle three keys at a time, looping the turnaround. The repetition is the point — turnarounds aren't a destination, they're a loop. 4 min Add a one-bar pickup before the turnaround: a single I chord, then the turnaround. Hear how it sets up the cycle. 3 min Try replacing the V7 with its tritone sub (♭II7). Now it's iii → vi → ii → ♭II → I — a chromatic landing. Variants you'll hear on the bandstand The diatonic iii–vi–ii–V–I above is the textbook form, but bebop heads usually secondary-dominant the inner chords: iii–VI7–ii–V7–I (vi becomes a V7/ii) or even III7–VI7–II7–V7–I (all dominants, the "rhythm changes" bridge cycle). Each substitution adds a tritone-pair pull at every step. The voice leading you've learned still works — the 3rds and 7ths just become the alt-extensions (♭9, ♯9, ♭13) of the new dominants. Start with the diatonic version until the cycle is in your hands, then layer the dominants in.
Turnarounds are how tunes loop. Learn them in all twelve keys and you stop fearing the form chart.