Jazz version of the turnaround with seventh chords. Imaj7-vi7-ii7-V7 — foundation of swing and bebop.
The Imaj7-vi⁷-ii⁷-V⁷ cadence with 4 chords creates an extended harmonic motion. The character depends on context and surrounding harmony.
In the Imaj7-vi⁷-ii⁷-V⁷ cadence each chord serves a role: Imaj7 — Tonic, vi⁷ — Submediant, ii⁷ — Subdominant, V⁷ — Dominant. Every chord has a seventh. This creates "jazz" color and smoothness. The fifth progression ii7→V7 creates final pull to I. Imaj7 at the start gives no complete rest — gently "winds up" the next cycle.
Tension builds through the stepwise motion. The nature of resolution is defined by the final chord of the cadence.
The Imaj7-vi⁷-ii⁷-V⁷ cadence is typical of major. Chorus endings in jazz (before a new chorus), swing, bebop, neo-soul, interchangeable with I-vi-ii-V.
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 Imaj7-vi⁷-ii⁷-V⁷ cadence is used for creating a particular harmonic color. Chorus endings in jazz (before a new chorus), swing, bebop, neo-soul, interchangeable with I-vi-ii-V. 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 Imaj7-vi⁷-ii⁷-V⁷ 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.