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Theory behind turn arounds

Discussion in 'Music Theory [DB]' started by Duce-hands, Mar 13, 2013.

  1. Duce-hands


    Nov 4, 2010
    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
  2. kreider204


    Nov 29, 2008
    I'm a bit unclear - can you write out the exact chord changes, so I can see exactly what you mean?
  3. Duce-hands


    Nov 4, 2010
    Sorry for the typos swyping
  4. Duce-hands


    Nov 4, 2010
    The chord progression is Bb7|Eb7|Bb7|Bb7|Eb7|Eb7|Bb7|Gmin7|Cmin7|F7|Bb7|F7
  5. Michael Eisenman

    Michael Eisenman Supporting Member

    Jun 21, 2006
    Eugene, Oregon
    I - vi - ii - V - I is an extremely common turnaround. Think rhythm changes.
  6. Stick_Player

    Stick_Player Banned

    Nov 13, 2009
    Somewhere on the Alaska Panhandle (Juneau)
    Endorser: Plants vs. Zombies Pea Shooters
    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.
  7. Steve Freides

    Steve Freides Former Mannes College Theory Faculty Supporting Member

    Dec 11, 2007
    Ridgewood, NJ
    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.


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