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ii–V7–I can be further modified by applying a tritone substitution to the V7 chord, replacing it with the ♭II7 chord. This is possible because the ♭II7 has...

progression - V7/vi–V7/ii–V7/V–V7–I Tadd Dameron turnaround Royal road progression - IVM7–V7–iii7–vi7–ii7–V7–I Andrews, William G; Sclater, Molly (2000). Materials...

the turnaround as the last two measures of the blues form, or I7 and V7, with variations including I7–IV7–I7–V7. The root movement of the V−IV−I cadential...

(ii–V–I turnaround, circle progression) I-VI-ii-V I–VI–II–V (I–V/ii–V/V–V) I–♭iiio–ii7–V7 I–vi–♭VI7♯11–V V–IV–I (blues turnaround) I–♭III–♭VI–♭II7 (Tadd...

the diatonic vi–ii–V7–I (in C: Am–Dm–G7–C). Play The three-chord version (II–V–I) is "related to the cadential progression IV–V–I...in which the V is...

used in popular music. Examples include II7 (V7/V) in Bob Dylan's "Don't Think Twice, It's All Right" and III7 (V7/vi) in Betty Everett's "The Shoop Shoop...

Dameron turnaround resolving to the tonic. IM7 | IM7 | ii7/♭III | V7/♭III | IM7 | IM7 | ii7/♭VI | V7/♭VI | ♭VIM7 | ♭VIM7 | ii7/V | V7/V | ii7 | V7 | IM7...

minor seventh" V7 and "half-diminished seventh" viiø7 are the dominant seventh chords. Since the nondominant function chords are I, i, ii, iio, iii, III...

standard ii7–V7–I progression in D major and then in C major. Assume that the time signature is 4 4 and that each ii and V chord gets four beats and the I chord...

followed a unified bebop convention — a series of ii7-V7 chord changes with a ii7–V7–I7 turnaround — for jazz artists. [clarification needed] [citation...

and "Mr. P.C.". The chord on the fifth scale degree may be major (V7) or minor (v7). Major and minor can also be mixed together, a signature characteristic...

three notes, such as in the case of a seventh chord (V7 is particularly common, as it resolves to I) or an extended chord. The harmonic function of any...

words, tritone substitution involves replacing V7 with ♭II7 (which could also be called ♭V7/V, subV7, or V7/♭V). For example, D♭7 is the tritone substitution...

chord or each chord in a progression is preceded by its supertonic (ii7) and dominant (V7), or simply its dominant. For example, a C major chord would be...

different turnarounds used for the last two bars of a 12 bar blues; however, if the bandleader, playing Hammond organ, plays I/VI7/ii7/V7 for the turnaround, most...

I viiø–III7 vi–II7 v–I7, IV7 iv–♭VII7 iii–VI7 ♭iii–♭VI7, ii V7 I–VI7 ii–V...

C: Am: G(m): F: IM7 iiø7     V7 ii7      V7 ii7      V7 F: E♭: D: D♭(m): I7 subii7 subV7 subii7 subV7 subii7 subV7 C: ii7 V7 IM7    VI7 ii7     V7...

use I / V7. A bebop blues by Charlie Parker might use chromatic chords that extrapolate from I VI7/ ii V7, to give turnarounds such as I bIII7/ii bII7 (C...