Theory behind turn arounds

[Duce-hands]

Greetings all,
So im working through a walking baselines book by one of our very own, and it appears it's a I-IV-V in the key of Bb. Well there are two bars Gmin7 and Cmin 7 that I assume are a turn around to the V chord F7. Well I wools like some clarity on theory being this particularly turn around if in fact it is a turn around. The g min is the vi of Bb but the V of the ii which challenge to be the V of the V chord of Bb. Maybe I'm getting bogged down in trivial info but just the way I am. thanks in advance

[kreider204]

I'm a bit unclear - can you write out the exact chord changes, so I can see exactly what you mean?

[Duce-hands]

Sorry for the typos swyping

[Duce-hands]

The chord progression is Bb7|Eb7|Bb7|Bb7|Eb7|Eb7|Bb7|Gmin7|Cmin7|F7|Bb7|F7

[Michael Eisenman]

I - vi - ii - V - I is an extremely common turnaround. Think rhythm changes.

[Stick_Player]

Originally Posted by Duce-hands

The chord progression is Bb7|Eb7|Bb7|Bb7|Eb7|Eb7|Bb7|Gmin7|Cmin7|F7|Bb7|F7

Usually the measure, where in your progression indicates "Gmin7", there would be a ii-V of the following measure (Cm7). Or, some variation, such as iiø7-V7(-9) or Dm7b5-G7(b9) resolving to Cmin7 (which immediately becomes the iim7 of Bb). The tune "Bloomdido" (in Bb), uses C#m7-F#7 (ms. 8) followed by Cm7 (ms. 9).

The term "turn around" usually occurs at the end of the progression. In a 12-bar blues, measures 11 and 12 could utilize the above mentioned "I - vi - ii - V". This "turns around" to the first chord of the progression, and you start all over. There are many options for turn arounds.

In a 12-bar blues progression, the EIGHTH measure can have many substitution possibilities - check the literature.

[SteveFreides]

Originally Posted by Duce-hands

Greetings all,
So im working through a walking baselines book by one of our very own, and it appears it's a I-IV-V in the key of Bb. Well there are two bars Gmin7 and Cmin 7 that I assume are a turn around to the V chord F7. Well I wools like some clarity on theory being this particularly turn around if in fact it is a turn around. The g min is the vi of Bb but the V of the ii which challenge to be the V of the V chord of Bb. Maybe I'm getting bogged down in trivial info but just the way I am. thanks in advance

The essence of harmony is the falling fifth. This isn't limited to just V to I. ii to V is a falling fifth, and vi to ii is also a falling fifth. Think of that song everyone plays on the piano, Heart and Soul. It's your chord progression: I, vi, ii (or IV - they function the same here), V, I.

-S-