I
Tonic
The point of stability.
I–vi–ii–V progression
Learn a classic turnaround as a functional cycle.
I–vi–ii–V moves from tonic through related minor functions into the dominant, creating a strong setup for returning to I.
I vi ii VI vi ii V progression1 6 2 5 progressionturnaround chord progressionjazz turnaround guitar
Function
Follow the motion toward dominant.
The progression gradually increases forward motion while staying strongly tied to the home key.
vi
Tonic-family minor
A softer departure.
ii
Predominant
Prepares the dominant.
V
Dominant
Creates the strongest return pressure.
Seventh chords
Use richer functional forms.
In jazz and related styles the progression is often played with seventh chords.
Imaj7
Tonic color
Adds a major seventh.
vi7
Minor seventh
Connects smoothly toward ii.
ii7
Predominant
Sets up V7.
V7
Dominant
Contains the guide tones that resolve strongly to I.
Voice leading
Make the turnaround feel inevitable.
Keep thirds and sevenths close and compare nearby inversions.
Guide tones
Track 3rds and 7ths
These tones often move by semitone or whole tone.
Compact shapes
Stay in one register
Avoid jumping between unrelated chord grips.
Top line
Create melody
Choose a highest note that connects each chord.
FAQ
Quick answers about I vi ii V.
Use these answers as a reference, then explore the relationships interactively.
What is I–vi–ii–V in C major?
C–Am–Dm–G, or commonly Cmaj7–Am7–Dm7–G7 in a jazz context.
Why is I–vi–ii–V called a turnaround?
It leads away from tonic and into V, which strongly sets up the return to I.
Is I–vi–ii–V only for jazz?
No. It is strongly associated with jazz and standards, but the functional pattern appears in many styles.
ChordRevelation
Move from explanation to interactive harmony.
Change the key, compare voicings, follow voice leading and see the same idea directly on the fretboard.