Classic turnaround — cyclical fifth motion that returns to the start. Foundation of jazz swing and 1950s pop standards.
The I-vi-ii-V cadence with 4 chords creates an extended harmonic motion. The character depends on context and surrounding harmony.
In the I-vi-ii-V cadence each chord serves a role: I — Tonic, vi — Tonic substitute, ii — Subdominant, V — Dominant. Each step is a descending fifth motion — the strongest tonal motion in Western music. V at the end creates expectation of returning to I, making the progression infinitely repeatable.
Tension builds through the stepwise motion. The nature of resolution is defined by the final chord of the cadence.
The I-vi-ii-V cadence is typical of major. Jazz turnarounds, retro pop (50s-60s), soul, Rhythm Changes, blues intros and outros.
Common modifications: replacing one chord with an inversion, adding passing chords, rhythmic variation. Extending the cadence is achieved by adding preceding or following chords.
The I-vi-ii-V cadence is used for creating a particular harmonic color. Jazz turnarounds, retro pop (50s-60s), soul, Rhythm Changes, blues intros and outros. In form, it can appear at the end of a verse, chorus, or section. When analyzing harmony, notice how the cadence affects the perception of form — it can emphasize structural boundaries or blur them.
On guitar, the I-vi-ii-V cadence can be played in open position (keys of C, G, D, A, E) or with barre chords (any key). Pay attention to voice leading — try to keep common tones in place while other voices move smoothly. This creates a more connected and professional sound. Also try playing the cadence on higher frets using partial barres and jazz voicings.