The Turnaround

In C major

Cmaj7 – Am7 – Dm7 – G7 — busy, forward-leaning, circular, around 160 BPM.

1. Bar 1 Imaj7 Cmaj7
   C · E · G · B
   ▶ Hear it
2. Bar 2 vim7 Am7
   A · C · E · G
   ▶ Hear it
3. Bar 3 iim7 Dm7
   D · F · A · C
   ▶ Hear it
4. Bar 4 V7 G7
   G · B · D · F
   ▶ Hear it

Why it works

After the tonic, every root moves down a fifth: vi to ii to V to I. That is a segment of the cycle of fifths, and it is why the progression feels like it is being pulled rather than pushed. Compared with the doo-wop I–vi–IV–V it shares its first two chords and then substitutes ii for IV — the two chords differ by one note, but ii continues the cycle where IV interrupts it.

Where you'll hear it

The last two bars of almost any 32-bar form. Learn its variations — the vi and ii are routinely made dominant to intensify the pull.

Imaj7–vim7–iim7–V7 in every key

The same progression transposed. The roman numerals never change — that is the whole point of writing progressions this way.

Related progressions

• iim7–V7–Imaj7 The ii–V–I Progression
• I–vi–IV–V The 50s Progression