Turnaround · I–vi–ii–V
A turnaround is the short loop of chords at the end of a section that pulls the harmony back to the top of the form. The I–vi–ii–V is the most common one in jazz — you'll hear it under the last bars of countless tunes. Pick a key below to see its four chords and chord-scales drawn on piano and guitar, and loop the vamp to drill it until the turn feels automatic.
Interactive trainer
Pick a key, hit play, and the tool loops the I–vi–ii–V with a metronome while the chord-scales light up on piano and guitar. All sound is synthesized in your browser.
Chord-scales shown are the common defaults: Ionian over I, Aeolian over vi, Dorian over ii, Mixolydian over V. The altered scale over the V7 is a valid stronger color. Music theory and original synthesized audio only — no copyrighted material.
The four chords
Four diatonic seventh chords spin a full circle: home, the relative minor, then a ii–V that resolves straight back home. Shown here in C major as the reference key.
| Degree | Quality | Chord-scale | Function |
|---|---|---|---|
| I — Imaj7 | major 7th | Ionian (major) | Tonic, the point of rest |
| vi — vim7 | minor 7th | Aeolian | Steps away from home |
| ii — iim7 | minor 7th | Dorian | Sets up the dominant |
| V — V7 | dominant 7th | Mixolydian (or altered) | Pulls back to I |
All 12 keys
Each key has its own page — the four chords spelled correctly for that key, the chord-scales on piano and guitar, and a loopable vamp.
How to practice this
The turnaround moves fast — often two chords per bar — so the goal is smooth voice-leading, not big leaps. Comp it first with close voicings, keeping common tones between chords so your hand barely moves.
For lines, target the third and seventh of each chord; they're the notes that spell the motion. Over the V7 you can stay diatonic with Mixolydian, or add tension with the altered scale for a stronger pull home.
Loop the vamp and play the turnaround over and over in one key, then take the exact same idea through all twelve. Because it cycles back to the tonic, it's the perfect pattern for endless looping practice.
FAQ
A turnaround is a short chord sequence at the end of a section that leads the harmony back to the top of the form. The I–vi–ii–V is the most common one in jazz: the tonic, then the relative-minor vi, then a ii–V that resolves back to I.
In C major the turnaround is Cmaj7 – Am7 – Dm7 – G7, returning to Cmaj7. Each pair usually lasts a bar, so the whole turnaround fills two bars before the form repeats.
A ii–V–I resolves and arrives at rest. A turnaround starts from the tonic and is built to set up a return to it, so it keeps the music looping rather than coming to a stop.
Yes — common moves include making the vi and the I dominant (I7–VI7–II7–V7) or applying tritone subs to any of the dominants. Start from the plain diatonic version here, then explore subs once it's solid.