Turnarounds to ii or II7
Tunes that begin on ii:
"Perdido," "Satin Doll," "Scrapple from the Apple," "It's You or No One," "Speak Low," etc.
Tunes that begin on II7:
"But Not for Me," "In a Mellow Tone," "If I Were a Bell," etc.
These are also effective ways of activating the harmony when the progression is moving from I to ii (or II7) as in "I Thought About You," Falling in Love With Love," etc. and in the blues progression in measures 7-9.
| C | E- A7 || D- | C | E- A7 || D7
I iii VI ii I iii VI II7
| C D- | E- Eb- | D-
I ii iii biii ii
| C F7 | E- A7 || D-
I IV iii VI ii
| C F7 | E- Eb7 || D-
I IV iii bIII ii
Descending by half steps to VI
| C B7 | Bb7 A7 || D-
I VII bVII VI ii
Cycle
| C F7 | Bb7 Eb7 || D-
Note that the cycle and descending half steps line up every other note and that when they are not the same, they are a tritone apart:
cycle: C F Bb Eb Ab Db
half steps: C B Bb A Ab G
"Perdido," "Satin Doll," "Scrapple from the Apple," "It's You or No One," "Speak Low," etc.
Tunes that begin on II7:
"But Not for Me," "In a Mellow Tone," "If I Were a Bell," etc.
These are also effective ways of activating the harmony when the progression is moving from I to ii (or II7) as in "I Thought About You," Falling in Love With Love," etc. and in the blues progression in measures 7-9.
| C | E- A7 || D- | C | E- A7 || D7
I iii VI ii I iii VI II7
| C D- | E- Eb- | D-
I ii iii biii ii
| C F7 | E- A7 || D-
I IV iii VI ii
| C F7 | E- Eb7 || D-
I IV iii bIII ii
Descending by half steps to VI
| C B7 | Bb7 A7 || D-
I VII bVII VI ii
Cycle
| C F7 | Bb7 Eb7 || D-
Note that the cycle and descending half steps line up every other note and that when they are not the same, they are a tritone apart:
cycle: C F Bb Eb Ab Db
half steps: C B Bb A Ab G