Turnarounds
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) |
| I | II-V(Dmin) | I | II-V(Fmaj) |
| I | II-V (Dmin) | II(Gmaj) | V |
| G+ (III, sub I in Eminmaj) | |||
| [In progress] |