vi–ii–V–I: Jazz Turnaround Loop
vi–ii–V–I feels like a musical conveyor belt because each chord sets up the next with clear function. In C, Am7 has a relaxed tonic-family sound, Dm7 adds predominant motion, G7 creates dominant tension, and Cmaj7 resolves with a bright, stable color. The reason it composes itself is voice leading: keep the 3rd and 7th of each chord close and you can move between shapes by a half-step or whole step. That is why swing comping and jazz piano practice often start here. Try shell voicings first, then add a fifth or a top-note melody for color. For improvisation, outline the guide tones (C and G for Am7, F and C for Dm7, B and F for G7) and your lines will sound connected even when they are simple.
- Key
- C major
- Tempo
- 152 BPM
- Groove
- swing
Play it on guitar
Start slow, keep your right hand steady, and aim for clean changes on the downbeats. Once it’s comfortable, add a groove and increase tempo.
Capo suggestion: try capo 0 and play in C shapes for open chords.
Chords: Am7 – Dm7 – G7 – Cmaj7
Roman numerals & theory
Roman numerals describe the chord’s function relative to the key. This helps you transpose the “shape” to any key without memorizing new chord names.
In C major: VImaj7–IImaj7–V7–Imaj7
Variations (keep the progression, change the feel)
- • Add 7ths for color (try maj7 on I, m7 on vi, and V7 before resolving).
- • Use a sus4 resolve on the V chord (e.g. Gsus4 → G) to create tension and release.
- • Change the rhythm instead of the chords: try anticipations (hit the next chord on the “and” of 4).
- • Arpeggiate the top notes to create a hook while the harmony stays the same.
- • Borrow a darker chord for contrast (in a major key, try iv for one bar before returning).
Related
FAQ
Select a chord below to start building your progression