Sometimes, especially in blues music, musicians will take chords which are normally minor chords and make them major. The most popular example is the I - VI - ii - V - (I) progression; normally, the vi
Tadd Dameron turnaround with resolution. Play Wikipedia:Media helpFile:Tadd Dameron
turnaround with resolution.mid chord would be a minor chord (min, -7, -6, -(♭6), etc.) but here the
major third allows for a more interesting modulation. Take the example in C major: C - A - d min - G (dom) . The third of the VI chord (in this case, C♯) allows for chromatic movement from C (the root of I) to C♯ (the third of VI) to D (the root of ii).
Similar chromaticism and harmonic interest can be achieved by the use of a secondary dominant, which are also useful for turnarounds. The
simplest example is V7/V - V7 - I, instead of ii - V - I. Another popular turnaround which may be considered as a secondary dominant analysis is ii - ♭V/V (or ♭II) - I, which is a variation on the standard ii - V - I turnaround. In jazz parlance, use of the bII instead of the V is known as Tritone Substitution. Using bV/V instead of V allows for a smooth chromatic descent. Again, let's examine C major; the original turnaround would be d min - G (dom) - C, while the modified would be d min - D♭ - C . The obvious chromatic movement is thorough; it is apparent in the roots (D - D♭ - C), thirds (F - F - E; F is often used as a pedal tone), and fifths (A - A♭ - G).
While in that particular example the ♭V/V can be considered a Neapolitan chord, the more typical functional analysis in the context of the jazz idiom is that it is not a "secondary dominant" (♭V7/V) at all, but ♭II7, a substitute
dominant[7] (tritone substitution). Harmonically, ♭II7 functions exactly as V7/I does, because the two chords enharmonically contain the same tritone, which is the critical harmonic element in the resolution from dominant to tonic. The half-step-wise downward motion of the roots of those chords, as seen in ii - ♭II7 - I, forms the familiar "line cliché", arriving satisfyingly at the tonic.
NB: "Secondary dominant" = the functional dominant of the key's dominant or another non-tonic chord, while "substitute dominant" = an alternative functional dominant of the key's tonic. The extending of dominants to secondaries (or beyond) is a practice which remains firmly inside the circle of fifths, while the substitution of dominants replaces that cycle with one of minor-second intervals.
I-vi-ii-V may be transformed through various chord substitutions. For example, the vi and ii chords may be substituted with dominant chords, giving I-VI7-II7-V or C-A7-D7-G,[8] the Ragtime progression. The tritone substitution may be applied to the vi and V chords, giving C-E♭7-D7-D♭7, or to every chord but the I, giving C-E♭7-A♭M7-D♭7.[9]
References
[1] Randel, Don Michael (2002). The Harvard Concise Dictionary of Music and Musicians. ISBN 0-674-00978-9. p.693 [2] Boyd, Bill (1997). Jazz Chord Progressions, p.43. ISBN 0-7935-7038-7.
[3] Boyd, Bill (1997). Jazz Chord Progressions, p.56. ISBN 0-7935-7038-7. [4]
[4] Boyd (1997), p.86. [5]
[5] Boyd (1997), p.90.
[6] Coker, et al (1982). Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation, p.118. ISBN 0-89898-703-2. [7] , . Harmony 4 course book, . Berklee College of Music.
[8]
[8] Boyd (1997), p.44. [9]
V-IV-I turnaround 61
V-IV-I turnaround
Harmonized blues turnaround (blue colored notes) in open G tuning[1] containing "How Dry I
Am" Play Wikipedia:Media helpFile:Blues turnaround open G tuning.mid.
V-IV-I progression in C Play Wikipedia:Media helpFile:V-IV-I
turnaround in C.mid
Perfect authentic cadence: IV-V-I progression in C Play Wikipedia:Media helpFile:IV-V-I in
C.mid. Considered the strongest ending during the common practice period.
"The stock jazz-blues turnaround [V7 I7-VI7-ii7-V7]. More specifically...the I-VI-ii-V7
turnaround that can be found in jazz and many non-jazz styles. If there is one turnaround...that
has to become second nature, this is it."[2] Play Wikipedia:Media helpFile:Jazz-blues
turnaround.mid. In music, the V-IV-I turnaround, or blues turnaround,[3] is one of
several cadential patterns traditionally found in the twelve-bar blues, and commonly found in rock and roll.
The cadence moves from the tonic to dominant, to subdominant, and back to the tonic. "In a blues in A, the turnaround will consist of the chords E7, D7, A7, E7 [V-IV-I-V[4]]."[5] V may be used in the last measure rather than I since, "nearly all blues tunes have more than one chorus (occurrence of the 12-bar progression), the turnaround (last four bars) usually ends on V, which makes us feel like we need to hear I again, thus bringing us around to the top (beginning) of the form again.".
Blues turnaround containing "How Dry I Am" Play Wikipedia:Media helpFile:Blues
turnaround.mid. The blues turnaround may be "dress[ed] up" by using Vaug
Play Wikipedia:Media helpFile:Augmented triad on C.mid ("an uptown V7") instead of V7 Play Wikipedia:Media helpFile:Dominant seventh chord on C.mid, "adding a touch of jazzy sophistication."[6] An important variation is the jazz influenced turnaround ii-V-I-V.
History
"It seems likely that the blues turnaround evolved from ragtime-type music", the earliest example being I-I7-IV-iv-I (in C: C-C7-F-Fm-C), "The Japanese Grand March".[7] This is a plagal cadence featuring a dominant seventh tonic (I or V/IV) chord. However, Baker cites a
turnaround containing "How Dry I Am" as the "absolutely most commonly used blues turnaround". Fischer describes the turnaround as the last two measures of the blues form, or I7 and V7, with variations including I7-IV7-I7-V7-[8]
Analysis
The root movement of the V−IV−I cadential formula found in the blues is considered nontraditional from the standpoint of Western harmony. The motion of the V−IV−I cadence has been considered "backward," as, in traditional harmony, the subdominant normally prepares for the dominant which then has a strong tendency to resolve to the tonic. However, an alternative analysis has been proposed in which the IV acts to intensify the seventh of V, which is then resolved to the third of the tonic.
The V-IV-I movement has also been characterized as "unwinding" the V-I cadence with the addition of the passing IV.[9]
Sources
[1] Brozman, Bob (1996). Bob Brozman's Bottleneck Blues Guitar, p.7. ISBN 1-57623-727-3.
[2] Manus, Ron (2003). Jazz Lead Guitar Solos: The Ultimate Guide to Playing Great Leads, Book & CD, p.16. ISBN 0739031589. [3] Gress, Jesse (2006). Guitar Licks of the Texas Blues-Rock Heroes, p.16. ISBN 0-87930-876-1.
[4] Alfred Publishing (2003). Electric Bass for Guitarists, p.34. ISBN 0-7390-3335-2.
[5] Tony Skinner, Andy Drudy (2006). Guitar Lessons Blues and Rock: 10 Easy-to-follow Guitar Lessons, p.18. ISBN 1-898466-76-9. [6] Johnston, Richard (2007). How to Play Blues Guitar: The Basics and Beyond, p.19. ISBN 0-87930-910-5.
[7] Baker, Duck (2004). Duck Baker's Fingerstyle Blues Guitar 101, p.17. ISBN 0-7866-7210-2. [8] Fischer, Peter (2000). Blues Guitar Rules, p.31. ISBN 3-927190-64-0.
[9] Pedlar, Dominic (2003). The Songwriting Secrets of the Beatles, p.30. ISBN 0-7119-8167-1 and (http://www.torvund.net/guitar/index. php?page=prog&prid=3).