V–IV–I turnaround

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.[4]

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[5]]."[6] 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 Harmonized blues turnaround (blue
[5]
hear I again, thus bringing us around to the top (beginning) of the form again.". colored notes) in open G tuning[1]
containing "How Dry I Am" Play .
The blues turnaround may be "dress[ed] up" by using V aug Play ("an uptown
V7") instead of V7 Play , "adding a touch of jazzy sophistication."[7] An
.[5]
important variation is the jazz influenced turnaround ii–V–I–V

Contents V–IV–I progression in C Play

History
Analysis
See also
Sources

History
"It seems likely that the blues turnaround evolved from ragtime-type music", the
Perfect authentic cadence: IV–V–I
earliest example being I–I7–IV–iv–I (in C: C–C7–F–Fm–C), "The Japanese Grand
progression in C Play . Considered
March".[8] This is a plagal cadence featuring a dominant seventh tonic (I or V/IV) the strongest ending during the
chord. However, Baker cites a turnaround containing "How Dry I Am" as the common practice period.
"absolutely most commonly used blues turnaround".[8] Fischer describes the
turnaround as the last two measures of the blues form, or I7 and V7, with variations
including I7–IV7–I7–V7.[9]

Analysis "The stock jazz-blues turnaround [I7–

The root movement of the V−IV−I cadential formula found in the blues is VI7–ii7–V7]. More specifically the I–
considered nontraditional from the standpoint of Western harmony.[10] The motion VI–ii–V7 turnaround that can be
of the V−IV−I cadence has been considered "backward,"[4] as, in traditional found in jazz and many non-jazz
styles. If there is one
harmony, the subdominant normally prepares for the dominant which then has a
turnaround...that has to become
strong tendency to resolve to the tonic. However, an alternative analysis has been
second nature, this is it."[2] Play .
proposed in which the IV acts to intensify the seventh of V, which is then resolved to
the third of the tonic.[4]

passing IV.[11]
The V–IV–I movement has also been characterized as "unwinding" the V–I cadence with the addition of the
See also
Mixolydian mode

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. Blues turnaround containing "How
Dry I Am" Play .
3. Gress, Jesse (2006). Guitar Licks of the Texas Blues-Rock Heroes,
p.16. ISBN 0-87930-876-1.
4. Everett, Walter (1999). The Beatles as musicians: Revolver through the
Anthology. Oxford University Press. p. 26.
5. Alfred Publishing (2003).Electric Bass for Guitarists, p. 34. ISBN 0-
7390-3335-2.
6. Tony Skinner, Andy Drudy (2006). Guitar Lessons Blues and Rock: 10
Easy-to-follow Guitar Lessons, p.18. ISBN 1-898466-76-9.
7. Johnston, Richard (2007).How to Play Blues Guitar: The Basics and
Beyond, p. 19. ISBN 0-87930-910-5.
8. Baker, Duck (2004). Duck Baker's Fingerstyle Blues Guitar 101, p.17.
ISBN 0-7866-7210-2.
9. Fischer, Peter (2000). Blues Guitar Rules, p.31. ISBN 3-927190-64-0.
10. Stephenson, Ken (2002). "Analyzing a Hit".What To Listen for in Rock:
A Stylistic Analysis. Yale University Press. p. 147.ISBN 0-300-09239-3.
11. Pedlar, Dominic (2003). The Songwriting Secrets of the Beatles, p.30.
ISBN 0-7119-8167-1 and [1] (http://www.torvund.net/guitar/index.php?pa
ge=prog&prid=3).

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