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iii7–vi7–ii7–V7 chord progression

Extended turnaround — iii7–vi7–ii7–V7 · also called the 3–6–2–5

  • Extended turnaround

    iii7 – vi7 – ii7 – V7

    1. Em7
    2. Am7
    3. Dm7
    4. G7

    in C major · 2 beats per chord

  • ii–V–I

    ii7 – V7 – Imaj7

    1. Dm7
    2. G7
    3. Cmaj7

    in C major · 4 beats per chord

    Used in: Satin Doll (Duke Ellington) · Tune Up (Miles Davis)

    Chords in every key →

  • Jazz turnaround

    Imaj7 – vi7 – ii7 – V7

    1. Cmaj7
    2. Am7
    3. Dm7
    4. G7

    in C major · 2 beats per chord

    Used in: I Got Rhythm (George Gershwin) · Oleo (Sonny Rollins)

    Chords in every key →

  • Minor ii–V–i

    iiø7 – V7 – i7

    1. Dm7♭5
    2. G7
    3. Cm7

    in C minor · 4 beats per chord

    Used in: Autumn Leaves (Joseph Kosma) · Blue Bossa (Kenny Dorham)

    Chords in every key →

  • Circle progression

    vi7 – ii7 – V7 – Imaj7

    1. Am7
    2. Dm7
    3. G7
    4. Cmaj7

    in C major · 4 beats per chord

    Used in: Fly Me to the Moon (Bart Howard) · I Will Survive (Gloria Gaynor)

    Chords in every key →

  • Dorian vamp

    i7 – IV7

    1. Cm7
    2. F7

    in C minor · 4 beats per chord

    Used in: Oye Como Va (Santana) · Evil Ways (Santana)

    Chords in every key →

Samples: Salamander Grand Piano (CC-BY 3.0)

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iii7–vi7–ii7–V7 chord progression — how it works

The iii7–vi7–ii7–V7 progression chains four chords whose roots fall by fifths — iii to vi to ii to V — so the whole bar leans forward into the tonic that follows; it is how jazz players fill the last two bars of a chorus.

It moves from the mediant (iii7) to the submediant (vi7) to the supertonic (ii7) to the dominant (V7) and then repeats. Each chord lasts 2 beats, so one pass of the 4 chords is 2 bars of 4/4.

In C major the chords are Em7 – Am7 – Dm7 – G7; in G major they are Bm7 – Em7 – Am7 – D7. Press play above to hear the progression, then pick the key that fits your voice or your song and set the tempo you want to practise at.

iii7–vi7–ii7–V7 in every key

The numerals stay the same; only the chords change. Find your key below, or pick it in the player above to hear it.

KeyChords
C majorEm7 – Am7 – Dm7 – G7
D♭ majorFm7 – B♭m7 – E♭m7 – A♭7
D majorF♯m7 – Bm7 – Em7 – A7
E♭ majorGm7 – Cm7 – Fm7 – B♭7
E majorG♯m7 – C♯m7 – F♯m7 – B7
F majorAm7 – Dm7 – Gm7 – C7
F♯ majorA♯m7 – D♯m7 – G♯m7 – C♯7
G majorBm7 – Em7 – Am7 – D7
A♭ majorCm7 – Fm7 – B♭m7 – E♭7
A majorC♯m7 – F♯m7 – Bm7 – E7
B♭ majorDm7 – Gm7 – Cm7 – F7
B majorD♯m7 – G♯m7 – C♯m7 – F♯7

Frequently asked questions

What chords are in the iii7–vi7–ii7–V7 progression in C major?
In C major the iii7–vi7–ii7–V7 progression is Em7 – Am7 – Dm7 – G7. The same numerals give Bm7 – Em7 – Am7 – D7 in G major; the table above lists all twelve keys.
What is the iii7–vi7–ii7–V7 progression called?
iii7–vi7–ii7–V7 is known as the Extended turnaround, and also as the 3–6–2–5. The iii7–vi7–ii7–V7 progression chains four chords whose roots fall by fifths — iii to vi to ii to V — so the whole bar leans forward into the tonic that follows; it is how jazz players fill the last two bars of a chorus.
How long is the iii7–vi7–ii7–V7 progression?
Each chord lasts 2 beats, so one pass of the 4 chords is 2 bars of 4/4. Loop it to keep the harmony going under a verse or a solo.