Hear the roots
At 60 bpm, first find these chord roots: B♭, G, C, F. Then play or sing the root of each sounding chord as you follow the trainer. Keep counting through the whole form. If you lose your place, return to roots before adding notes.
I–vi–ii–V · B♭ major
I–vi–ii–V in B♭ Major — B♭△7 – Gm7 – Cm7 – F7
The I–vi–ii–V turnaround in B♭ major is B♭△7 – Gm7 – Cm7 – F7. Over B♭△7 play Ionian (major) (B♭ C D E♭ F G A); Over Gm7 play Aeolian (G A B♭ C D E♭ F); Over Cm7 play Dorian (C D E♭ F G A B♭); Over F7 play Mixolydian (F G A B♭ C D E♭). B♭ major is home for trumpet and tenor sax; B♭maj7 – Gm7 – Cm7 – F7 is likely the most-played turnaround in jazz.
Interactive trainer
Hear it, see it, play it — in B♭ major.
Loop
Lead
Tempo110 bpm
I△
I
B♭△7
vi⁷
vi
Gm7
ii⁷
ii
Cm7
V⁷
V
F7
Chord-scale on your instrument
Showing: B♭△7 — Ionian (major)
Piano · B♭△7 with Ionian (major)
Guitar · standard tuning
Piano · Gm7 with Aeolian
Guitar · standard tuning
Piano · Cm7 with Dorian
Guitar · standard tuning
Piano · F7 with Mixolydian
Guitar · standard tuning
RootChord toneScale toneBeing played
Play this chord:
Click any chord card to see its scale, and tap any key or fret to hear that note. Turn on “+ Arpeggios” or “+ Scales” and the guitar or piano plays the line live over the vamp, lighting each note on the diagram as it sounds. All audio is synthesized in your browser — nothing is recorded or copyrighted.
Your next 10 minutes
Turnaround in B♭: from chords to a solo
Connect the guide tones
B♭△7: D and A; Gm7: B♭ and F; Cm7: E♭ and B♭; F7: A and E♭. Choose one voice and move to the nearest third or seventh in the next chord. Use your ear; not every transition is a half step.
Improvise with a limit
Using the chords B♭△7, Gm7, Cm7, F7, use only chord tones for one chorus. On the next chorus add a single passing note between targets. Repeat one rhythmic idea, then leave a full bar of space.
Listen for this: Resolve into B♭△7 without rushing. Success means keeping the form and hearing your next target, not reaching the highest tempo.
Understand the sound
Turnaround in B♭: hear the connections
A turnaround leads back to the beginning. Hear the final dominant as a question whose answer arrives when the loop returns to I, rather than as the end of the phrase.
| Chord change | One possible line | Movement |
|---|---|---|
| B♭△7 → Gm7 | A → B♭ | Up 1 semitone |
| Gm7 → Cm7 | F → E♭ | Down 2 semitones |
| Cm7 → F7 | B♭ → A | Down 1 semitone |
Build the line before the solo
Play the first pitch in each row during its chord, then move to the target as the next chord begins. Choose an octave that allows the indicated movement. Sing the line once before playing it; add the bass roots only after the upper voice feels secure.
Check that you can hear the form
Stop playing for one complete cycle while you keep counting. Re-enter on B♭△7. If you miss the entrance, simplify to roots and work at 60 bpm before adding passing notes.
Reference
B♭ major I–vi–ii–V — chords, arpeggios & chord-scales.
| Function | Chord | Chord tones (1–3–5–7) | Chord-scale | Scale notes |
|---|---|---|---|---|
| I△ | B♭△7 | B♭ – D – F – A | Ionian (major) | B♭ C D E♭ F G A |
| vi⁷ | Gm7 | G – B♭ – D – F | Aeolian | G A B♭ C D E♭ F |
| ii⁷ | Cm7 | C – E♭ – G – B♭ | Dorian | C D E♭ F G A B♭ |
| V⁷ | F7 | F – A – C – E♭ | Mixolydian | F G A B♭ C D E♭ |
| Guide tones | B♭△7 | Gm7 | Cm7 | F7 |
|---|---|---|---|---|
| 3rd | D | B♭ | E♭ | A |
| 7th | A | F | B♭ | E♭ |
How to practise this
Build the B♭ major turnaround into your ear.
1. Arpeggios in time. Loop the vamp at 70–90 bpm and play B♭△7, Gm7, Cm7, F7 as 1–3–5–7 quarter notes, one chord per bar. Use the “+ Arpeggios” loop above to hear it played and copy the line.
2. Guide tones. Play only the 3rd and 7th of each chord: D–A → B♭–F → E♭–B♭ → A–E♭. Notice that E♭, the 7th of F7, moves to D, the 3rd of B♭△7 — that is the resolution.
3. Chord-scales. Run Ionian (major) on B♭△7, Aeolian on Gm7, Dorian on Cm7, Mixolydian on F7, then improvise keeping chord tones on beats 1 and 3.
4. Move it. When B♭ is clean, go to E♭ major — a fourth up — and keep going around the circle.
Take it to the bandstand.Practice Radio streams this form and every other progression through all twelve keys, with the chord and scale shown live — plus ear-training and call & response modes.
▶ Open Practice RadioCommon questions
B♭ major I–vi–ii–V FAQ.
What are the chords of the I–vi–ii–V in B♭ major?
B♭△7 – Gm7 – Cm7 – F7. The I chord is B♭△7 (B♭, D, F, A); The vi chord is Gm7 (G, B♭, D, F); The ii chord is Cm7 (C, E♭, G, B♭); The V chord is F7 (F, A, C, E♭).
Which scales do I play over B♭△7 – Gm7 – Cm7 – F7?
B♭△7: Ionian (major) (B♭ C D E♭ F G A). Gm7: Aeolian (G A B♭ C D E♭ F). Cm7: Dorian (C D E♭ F G A B♭). F7: Mixolydian (F G A B♭ C D E♭).
What is the guide-tone line for the I–vi–ii–V in B♭ major?
The thirds and sevenths: D and A over B♭△7, B♭ and F over Gm7, E♭ and B♭ over Cm7, A and E♭ over F7. Connect each voice to the nearest available third or seventh of the next chord; the distance depends on the progression and voicing.
How should I practise this progression?
Loop the vamp at a slow tempo, play each arpeggio 1–3–5–7 in time, then play each chord-scale up and down, then improvise using only chord tones on the strong beats. When it is clean, move to the next key around the circle of fourths.
All twelve keys
The major I–vi–ii–V in every other key.
The final ii and V chords lead into the tonic on the next loop, forming a B♭ major ii–V–I — drill that on its own too. Read the theory in What is a ii–V–I?, or see the scales on their own pages: B♭ Major, G Aeolian, C Dorian, F Mixolydian.