Turnarounds

Tritone Sub Turnaround in Ab

The I-VI-ii-V with tritone substitutes for its dominants, bIII7 for VI7 and bII7 for V7, so the bass falls by half steps from bIII back to I.

Tempo 120 BPM

Practice in all 12 keys

Bar 1: A♭maj7 Imaj7 B7 ♭III7
Bar 2: B♭m7 ii7 A7 ♭II7

Rootless Shells Guide tones Rooted shells Rooted Drop 2

Four-note rootless voicings in their two forms, with the 3rd or the 7th on the bottom, played over the root.

Customize each chord

Abmaj7
B7
Bbm7
A7

Meter: 4/4
Bars: 2

Eb7 shares its 3rd and 7th with A7, and Db7 with G7, so the upper voices move just as they do in the I-VI-ii-V while the bass slides down Eb, D, Db, C. It’s a favourite of bebop players and arrangers. Play Lydian dominant over the substitutes.

Reharmonize Analyze these changes

None of the usual substitutions apply: there are no dominant 7ths to replace and no whole steps to fill.

Variations

Major I-vi-ii-V

Imaj7 vi7 | ii7 V7

In Ab: Abmaj7 Fm7 Bbm7 Eb7

The basic turnaround: diatonic chords falling in fifths from vi back to I, two to a bar, to bring a tune back to the top.
Major I-VI-ii-V

Imaj7 VI7 | ii7 V7

In Ab: Abmaj7 F7 Bbm7 Eb7

The standard turnaround back to the top of a major tune, with VI7, the dominant of ii, in place of the diatonic vi chord.
Major iii-VI-ii-V

iii7 VI7 | ii7 V7

In Ab: Cm7 F7 Bbm7 Eb7

The I-VI-ii-V turnaround with iii, which shares three notes with the I chord, standing in for the tonic.
Diminished Passing Turnaround

Imaj7 ♯i°7 | ii7 V7

In Ab: Abmaj7 Adim7 Bbm7 Eb7

The I-VI-ii-V with a diminished 7th chord on #I in place of VI7, so the bass rises by half steps from I to ii.
Chromatic iii-bIII-ii-bII

iii7 ♭III7 | ii7 ♭II7

In Ab: Cm7 B7 Bbm7 A7

The iii-VI-ii-V turnaround with both dominants replaced by tritone substitutes, so the roots descend by half steps from iii to I.
Tadd Dameron Turnaround

Imaj7 ♭IIImaj7 | ♭VImaj7 ♭IImaj7

In Ab: Abmaj7 Bmaj7 Emaj7 Amaj7

A turnaround of major 7th chords on I, bIII, bVI and bII, named after the bebop composer and arranger Tadd Dameron.

Reharmonize Analyze these changes

Variations

Major I-vi-ii-V

Major I-VI-ii-V

Major iii-VI-ii-V

Diminished Passing Turnaround

Chromatic iii-bIII-ii-bII

Tadd Dameron Turnaround