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V–IV–I turnaround
In music, the V–IV–I turnaround, or blues turnaround,〔Gress, Jesse (2006). ''Guitar Licks of the Texas Blues-Rock Heroes'', p.16. ISBN 0-87930-876-1.〕 is one of several cadential patterns traditionally found in the twelve-bar blues, and commonly found in rock and roll.
The cadence moves from the tonic to dominant, to subdominant, and back to the tonic. "In a blues in A, the turnaround will consist of the chords E7, D7, A7, E7 (The blues turnaround may be "dress() up" by using Vaug ("an uptown V7") instead of V7 , "adding a touch of jazzy sophistication."〔Johnston, Richard (2007). ''How to Play Blues Guitar: The Basics and Beyond'', p. 19. ISBN 0-87930-910-5.〕 An important variation is the jazz influenced turnaround ii-V-I-V.〔
==History==
"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".〔Baker, Duck (2004). ''Duck Baker's Fingerstyle Blues Guitar 101'', p.17. ISBN 0-7866-7210-2.〕 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".〔 Fischer describes the turnaround as the last two measures of the blues form, or I7 and V7, with variations including I7–IV7–I7–V7-〔Fischer, Peter (2000). ''Blues Guitar Rules'', p.31. ISBN 3-927190-64-0.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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