Extended jazz turnaround along the circle of fifths. Four steps of descending fifths before resolving to I.
The iii-vi-ii-V cadence with 4 chords creates an extended harmonic motion. The character depends on context and surrounding harmony.
In the iii-vi-ii-V cadence each chord serves a role: iii — Mediant, vi — Submediant, ii — Subdominant, V — Dominant. Four fifth-steps build maximum harmonic "momentum." By the time we reach V, the ear is already hurtling toward I. This is the most directional motion toward the tonic.
Tension builds through the stepwise motion. The nature of resolution is defined by the final chord of the cadence.
The iii-vi-ii-V cadence is typical of major. Jazz turnarounds (as expansion of I-vi-ii-V), swing standards, improvisational etudes.
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 iii-vi-ii-V cadence is used for creating a particular harmonic color. Jazz turnarounds (as expansion of I-vi-ii-V), swing standards, improvisational etudes. 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 iii-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.