Tag Archives: I VI II V

Jazz Chords 10 variations of a I VI II V turnaround

The I VI II V is one of the most common progessions in jazz. In this lesson I am going to go over 10 variations of it and discuss how some of the different substitutions work and how you put them together.

The Turnaround

As I mention in my first lesson on turnarounds and the one on Rhythm changes a I VI II V is in fact an embellished version of a I V progression. It’s very good to keep this in mind, not only for high tempo solos but also just to understand what the basic structure and the point of the turnaround is.

All the examples in this lesson are made on a turnaround in C major.

The basic I VI II V is shown in example 1:

Jazz Chords 10 variations of a I VI II V turnaround - ex 1

The first chord that we use a substitution for is the Am7. Since Am7 to Dm7 is a sort of dominant root movement we can change the Am7 into an A7.  The A7 to Dm7 is then an auxiliary dominant resolving to a minor chord so the  scale that works for that is D minor harmonic. The modal name for that type of dominant sound is A7(b9,b13).

A few variations on the VI chord

This is shown in example 2:

Jazz Chords 10 variations of a I VI II V turnaround - ex 2

Since we need to move from C to Dm7 we can also choose to substitue the Am7 with a dim passing chord. In this case it will be a C#dim that will function the same as the A7 in example 2, and you should use the same scale to play over it or add extensions to it. The reason for using the C# dim is to get a nice chromatic stepwise bass line.

Jazz Chords 10 variations of a I VI II V turnaround - ex 3

Changing the tonic chord

Now that we have a few options for the VI we can start using a substitute for the I chord. The most common version of this is to use the III chord instead of the I chord. For soloing there is very little difference between the two, but in a progression the III chord is not nearl as much of a resting point as the I chord. Furthermore it moves to the VI resolving a 5th down so it adds more forward motion in the bass as well.

You’ll notice that the III does not have a natural 9th in the chord. This is because that is a note that is not in the scale so it will sound a little out of place. In some situations it is ok to use it and in others it may clash with the melody or the soloist.

Jazz Chords 10 variations of a I VI II V turnaround - ex 4

Altered dominants

To make the pull back to the I chord at the end of the progression we can alter the V. There are two options for this, you can borrow the dominant from C harmonic minor which gives us a G7(b9,b13) or simply use the altered scale (Ab melodic minor).

Jazz Chords 10 variations of a I VI II V turnaround - ex 5

The Em7 is pulling the progression forward where the I is making it rest, making the Em7 a dominant chord is away to make that pull stronger. A dominant is always more unstable sounding and especially since it is not in the key it will give us the feeling that we want to move forward.

You should notice that you need an E7alt or E7(b9,b13) to not clash with the melody that you’d expect on a turnaround in C.

In example 6 I am using the E7, and I also changed the Dm7 to a D7 to get a complete chain of dominants that is pulling to the tonic.
Jazz Chords 10 variations of a I VI II V turnaround - ex 6

Tritone substitution

Since we can use an E7alt we can also use the tritone substitution of that chord. This gives us a bass note that is not even in the key which makes it even more unstable than the E7 and gives it much more forward direction. This is a personal favourite of mine, it isn’t used that often as a turnaround in an AABA form, but it does happen quite often in places where there is an extension at some point.

Bb7 is a tritone substitution so we would consider it a lydian dominant

Jazz Chords 10 variations of a I VI II V turnaround - ex 7

Now we have a few variations of dominant chains. First we can add a tritone substitution for the G7: Db7.

Jazz Chords 10 variations of a I VI II V turnaround - ex 8

And if we don’t use the Bb7 but use the E7 and a tritone substitue for A7: Eb7. Then we get this chromatically descending line in example 9

Jazz Chords 10 variations of a I VI II V turnaround - ex 9

Ladybird Turnaround and the gateway to Giant Steps

The final example is a little left by itself. You can look at this turnaround as a gateway to Giant Steps. In the lady bird turnaround usually you use the I chord, and the tritone subs for A7 and G7. The Dm7 is replaced with an Abmaj7, and the way this works is that we let the Eb7 resolve as a normal dominant to Abmaj7 instead of as a tritone resolving to Dm7. Abmaj7 is related to C major as a bVI borrowed from C minor. You’ll find that in some standards as well.

To shortly connect this to Giant steps you should notice that we are in C and that we modulate down to Ab. If you continue that cycle you get a Giant Steps progression in the key of C:

Cmaj7 Eb7 Abmaj7 B7 Emaj7 G7 Cmaj7

I don’t know if this is where Coltrane got the idea, but it is certainly a possibility.

Jazz Chords 10 variations of a I VI II V turnaround - ex 10

That was 10 variations of the turnaround. As you can see you can easily make more different variation, but they will start to resemble each other a bit more.

I think it is important to be able to recognise that something is just a turnaround and to know the different versions so that you can easily sum up pieces that are mostly turnarounds and that you already reading the piece have a sense of how it works.

If you want to see some examples of lines on these turnarounds then leave a comment on YouTube or social media and let me know!

You can also check out my WebStore lesson on comping on How High The moon:

Comping Etude – How High The Moon

If you want to study the examples away from the video or article you can download a pdf here:

Jazz Chords 10 variations of a I VI II V turnaround

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please feel free to leave on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you want to hear.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

 

Turnarounds part 1 – I VI II V

In this lesson I want to talk about the I VI II V turnaround and what you can play over it and how you can practice it. The lesson will give you some exercises and suggestions to make strong melodiclines using diatonic arpeggios and target notes.

The Turnaround

Turnarounds are progressions that are used a lot in standards like Rhythm Changes and Ain’t Misbehavin, The Touch of Your Lips and so on. For that reason alone it’s well worth checking out.

I am going to start a series of lessons on different variations of turnarounds which should include a good portion of most sorts of jazz harmony. It should take us from standard turnarounds and gradually closer to John Coltranes Giant Steps cycle, which can be seen as derived from turnarounds too.

Because turnarounds are so common they are also a good place to start when practicing playing over faster moving changes. By faster moving changes I mean 2 chords per bar which is something that already in medium tempos can be hard to navigate in a musical way, and play something that makes sense melodically. If you have 2 chords per bar and improvise in 8th notes then you have to make a melody with 4 notes from one chord and 4 from the next, this can be quite tricky at times.

In this lesson I am going to work on a turnaround in Bb major. Which is this chord progression:

Turnarounds part 1 - I VI II V - ex 1

I am in this lesson using Harmonic minor on the dominant 7th chords. This is something you can also check out in this lesson:  Harmonic Minor Dominant Lines

So in this lesson we have these scales:

For the Bbmaj7 and Cm7 chords:

Turnarounds part 1 - I VI II V - ex 2

Since G7(b9) is a dominant resolving to Cm7 it is best to consider it an auxiliary dominant and use C harmonic minor:

Turnarounds part 1 - I VI II V - ex 3

 

And for the variation I chose to do consider the F7(b9) a chord that is borrowed from Bb minor and use Bb harmonic minor over that too.Turnarounds part 1 - I VI II V - ex 4

Raw materials for lines

The main part of the lines I make on a progression like this are made up of the arpeggios of the chord and the arpeggios found on the 3rd of the chord, so for BbMaj, I have that arpeggio and the arpeggio from D which is a Dm7 arpeggio. I use other things too but these two are probably the most important to know, and the you can of course use them in inversions and as shell voicings and triads too, as you’ll notice in my examples.

Turnarounds part 1 - I VI II V - ex 6

So now we have two arpeggios and a scale for each chord in the turnaround and can begin to start practicing lines on it.

Practicing and composing lines on the I VI II V

When you first try to make lines on the progression you probably need to be concerned with two things: Have clear target notes so that when you play that note on the 1 or the 3 you can hear the chord change clearly, and you need to approach it in a way where you practice playing towards the target note. Playing towards the target note is going to make the flow of your lines much moe logical and will help you make stronger lines whenever you improvise.

To give you some examples of how I might compose lines on this turnaround I wrote this small exercise:

Turnarounds part 1 - I VI II V - ex 7

You’ll notice that I am trying to just use basic ideas and movements and keep it quite simple, mostly because it is better to stick to the basics when starting to work on a progression like this. We can always add the fireworks later.

The first bar is using first the Bb triad and then the B dim arpeggio over the Bbmaj7 and G7(b9). In the second bar the lines is first a bit of the Cm7 arpeggio and then chromatically leading up to the 3rd(A) of F7. In bar 3 the Bbmaj line is a descending “Coltrane pattern” or Bb major pentatonic scale, depending on what you prefer calling that. On the G7 the line is again the B dim, but this time ascending. The Cm7 is a scale fragment from the C minor pentatonic scale followed by an inversion of a F7(#5) arpeggio.

The 5th and 6th bar are not using the same target note strategy to make the melody, but instead using arpeggios and voice leading to creat a coherent line. The first part on the BbMaj7 chord is a Dm7 arpeggio which is then altered to a Bdim inversion over the G7 by introducing an Ab and a B. Over the Cm7 the whole thing shifts up to an Eb Maj7 arpeggio which continues up to a C dim triad over the F7. Over the final turnaround the Bbmaj7 line is again a Dm7 arpeggio but this time in a pattern. The line on the G7 is a descending scale fragment from the C harmonic minor scale. The line continues through a descending Ebmaj7 arpeggio in inversion which then is encircling the A of an A dim inversion over the F7. This arpeggio resolves to a D.

I hope you can use the material and the strategies to become more at home over changes like this turnaround. I will make a few different lessons on different sorts of turnarounds which should help categorizing the progression and splitting songs up in bigger parts so that they are both easier to play and easier to remember.

As always you can download a PDF of the examples here for later study:

Turnarounds part 1 – I VI II V

If you have any questions or comments then feel free to leave them here or on the video. Please subscribe to my YouTube channel and feel free to connect with me via Facebook, Instagram, Google+ or Twitter to keep up to date with new lessons, concerts and releases.