I . Turnarounds to Tonic (I)
Many progressions end with two measures of the tonic chord and begin again on the same tonic chord. This creates twelve or more beats of the same static sound. Several other chords may be placed in this area which create motion to replace the static harmony. The new progressions are called “turnarounds” as they turn the piece around the top of the form. There are many tunes that are based on a variation of these turnaround progressions. Try to determine the accidentals necessary in these turnarounds.
Static harmony: the last two measures of the form and the first measure all on the tonic chord begs for harmonic motion to replace the static harmony.
C C
I I
Additional harmony is inserted in a passage by working backwards from the targeted resolution. The tonic chord (C) at the top of the chart can be preceded with its diatonic ii7 and V7 (Dm7 - G7) in the final measure. The root motion of downward fifths is strong.
C Dm7 G7 C
I ii7 V7 I
Backing up one more place in the progression allows the insertion of vi7 which creates a longer passage of downward fifth root motion: vi7 - ii7 - V7 - I.
C Am7 Dm7 G7 C
I vi7 ii7 V7 I
Secondary dominant chords can replace diatonic chords. The vi7 chord can be replaced by a V7/ii; the ii7 chord can be replaced by the V7/V. Secondary dominants produce more forward motion by intro- ducing chromatic voices that briefly point away from the primary tonal center.
C A7 D7 G7 C
I V7/ii V7/V V7 I
A secondary leading tone chord can be used in place of a secondary dominant chord. The C
#
°7, the vii°7/ii, creates a chromatically ascending bass line which returns to the downward fifth motion with the ii7 - V7 - I.C C
#
°7 Dm7 G7 CI vii°7/ii ii7 V7 I
A dominant chord may be replaced by its tritone substitute dominant when the dominant chord is re- solving down a fifth. If the dominant chord is resolving deceptively, as ii - V7 - vi, a tritone substitute dominant would not appropriate. The roots of a sequence of tritone substitutions may progress in
last two measures and begin again on the same tonic chord. The resolution to the tonic chord in those final two measures can be avoided by using the iii7 chord or the I6 chord as a substitute for I. The iii7 chord leads well to the vi7 or V7/ii7 chords with descending fifth root motion. The iii7 chord leads chromatically to the tritone substitute for V7/ii. A descending chromatic bass line can be created by substituting iii7 for I, and using the tritone substitutes for V7/ii and V7 as shown below.
Em7 E
b
7 Dm7 Db
7 Ciii7 TT sub for V7/ii ii7 TT sub for V7 I
E7 is the V7/vi and can also be inserted in the progression to avoid the tonic chord. If the tonic chord tones are sounded over the E7, they create colorful upper extensions (C=
b
13, E = Root, G =#
9 of E7). A descending chromatic bass line is shown below using all dominant chords.E7 E
b
7 D7 Db
7 CV7/vi TT sub for V7/ii V7/V TT sub for V7 I
E7 can also have a tritone substitution. B
b
7 may be a long way from the tonic chord, but it may sound interesting as the C triad over the Bb
7 chord yields other colorful upper extensions (C = 9, E =#
11, G = 13 of Bb
7). The progression below has a bass line of descending fifths using all tritone substitute domi- nants.B
b
7 Eb
7 Ab
7 Db
7 CTT sub for V7/vi TT sub for V7/ii TT sub for V7/V TT sub for V7 I
A chromatic bass line can be created using a combination of tritone substitution, secondary dominants and the dominant.
B
b
7 A7 Ab
7 G7 CTT sub for V7/vi V7/ii TT sub for V7/V V7 I
The vii°7/iii can be used deceptively in this turnaround.
Cmaj7 or Em7 D
#
°7 Dm7 G7 CI or iii7 vii°7/iii ii7 V7 I
Chords from the parallel minor can be used for a color change. The diatonic major chords, vi7 - ii7 - V7, are replaced by corresponding chords from the parallel minor. The fundamental G7 chord will sound the same but would have different upper extensions. The lowered third and sixth degrees of the C minor scale yield the
b
13 andb
9 over the G7.Cmaj7 A
b
maj7 Dø7 G7 (b
13b
9) CI
b
VI/i iiø7/i V7/i IThis is not a commonly used turnaround, but is possible and may inspire an arrangement or composi- tion.
Cmaj7 Am7 Fmaj7 or Fm7 B
b
7 CI vi7 IV or iv/i Backdoor deceptive
resolution
I
An artist may use a different turnaround progression within the performance of a tune. Different turnarounds may be chosen for different emotional or structural moments in the solo. In a four chorus improvisation on a jazz standard progression in B
b
major, Keith Jarrett used three different turnarounds.At the end of the first chorus Jarrett played only two chords over the dominant pedal note F. This re- strained the forward motion for a moment before releasing it at the top of the second form.
B
b
maj7/F Cb
maj7/F Bb
Over dominant pedal
I
At the end of the second chorus he used this diatonic progression:
B
b
maj7 Gm7 Cm7 F7 Bb
I vi7 ii7 V7 I
As the solo built to the more climactic third chorus, Jarrett changed only the second chord. Jarrett’s melodic material over this turnaround was a flurry of sixteenth notes.
B
b
maj7 G7 Cm7 F7 Bb
I V7/ii ii7 V7 I
The last turnaround set up the end of the solo and Jarrett returned to the diatonic progression and slowed the rhythmic activity of the melodic material to help the improvisation come to a close.
B
b
maj7 Gm7 Cm7 F7 Bb
I vi7 ii7 V7 I