They are everywhere, and mutually interchangeable. Basically, turnarounds are placeholders of harmonic movement. They go a merry round, then back to whatever the tonic or the dominant chord that they replace was, basically.
Here are some quick possibilities for tonic turnarounds:
- iii-7 vi-7 ii-7 V7
- Imaj7 vi-7 ii-7 V7
- Imaj7 V7/ii ii-7 V7
- iii-7 vi-7 ii-7 Ib7
- iii-7 vi-7 V7/V7 V7
- Imaj7 V7/V7 V7sus4 V7
All the regular reharmonization rules apply, meaning that, in functional terms, Imaj7, I6, iii-7, iii6, vi-7 and vi-6 all fulfill the same role (in a major harmonic context).
Body and soul
Cute tune. Listing here a regular form, as collected from different sources:
A section, in Db
|II V/II||II V||I IV7||III IIIbdim (passing)|
|II (+passing)||VII V||turnaround||I, II-V(in Db)
I, II-V (in D)
B section: centered around D in row 1, then C in 2nd
|I II||I II/bVII7 bVII7||turnaroundy-thing||I(in D)|
|II V||I(in C) IIIbdim||II V||Chromatic-y part: I7 VII7 V/ii(in Db)|
Aaaand back to the A form.
Stella by starlight
Getting into minor harmony lately, so I’m not sure this is entirely right, but…
|II (b5)||V (b9, in Dmin)||II||V (in BbMaj)|
|II (in EbMaj)||V||I||V (AbMaj)|
|G+ (III, sub I in Eminmaj)|