V–IV–I turnaround

"It seems likely that the blues turnaround evolved from ragtime-type music", the earliest example being I–I7–IV–iv–I (in C: C–C7–F–Fm–C), "The Japanese Grand March". This is a plagal cadence featuring a dominant seventh tonic (I or V/IV) chord. However, Baker cites a turnaround containing "How Dry I Am" as the "absolutely most commonly used blues turnaround". ==Analysis==

The root movement of the V−IV−I cadential formula found in the blues is considered nontraditional from the standpoint of Western harmony. The motion of the V−IV−I cadence has been considered "backward," ==Variations==

File:Jazz-blues turnaround.png|thumb|"The stock jazz-blues turnaround [I7–VI7–ii7–V7]. More specifically the I–VI–ii–V7 turnaround that can be found in jazz and many non-jazz styles. If there is one turnaround...that has to become second nature, this is it." . The blues turnaround may be "dress[ed] up" by using V aug ("an uptown V7") instead of V7 , "adding a touch of jazzy sophistication." An important variation is the jazz influenced turnaround ii–V–I–V. ==See also==