Rhythm Changes Turnaround I-vi-ii-V
Piano sound loads on first tap. Resolved in the key of C — every chord links to its full analysis.
The quintessential 'I Got Rhythm' turnaround. I–vi–ii–V opens with a descending third (I to vi), then chains two descending fifths (vi–ii–V) — that circle-of-fifths pull makes it the go-to two-bar loop for jazz standards.
What each degree does
Feels like home — complete rest, where the piece departs from and returns to. The major tonic, where everything settles.
The relative minor — the tonic's reflective shadow. It often replaces I in a deceptive cadence, where you expected home and its sad side arrives instead.
The predominant par excellence — a soft minor leaning toward the dominant. It's the first step of the classic ii–V–I.
Tension pulling home — the chord that 'wants to resolve' to I; it closes or opens sections. The dominant, the engine of the key.