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I bIII IV: C Eb F

'Magical Mystery Tour', 'Pride (In The Name Of Love)' br, 'Twenty Five Mlles'.

I bIII bVII: C Eb Bb

'The Rocker' ch, 'Nutbush City Limits' v.

I bVII IV: C Bb F

'Desire', 'Won't Get Fooled Again' v (and many other Who songs), 'Crush With Eyeliner'

v, 'Addicted To Love', '(This Could Be) The Last Time', 'Alright' (Cast) v, 'Rock and

Roll Nigger', 'You Ain't Seen Nothing Yet' (v I, bVII, IV with a three-chord trick ch I,

V, IV), 'Praise Him', 'Hand In My Pocket' hk, 'Can't Get Enough' v, 'Don't Stop' v,

'Cigarettes And Alcohol' ch. 'With A Little Help From My Friends (Joe Cocker),

'Gloria' (Them), 'Chasing The Dream' (as bVII-IV-I)

bVI bVII I: Ab Bb C

'Kiss From A Rose', end of 'Wake Up Boo!', 'Lady Madonna' v.

The Three-Chord Turnaround
In blues music ''turnaround" means a distinctive phrase played in the last two bars of a 12-bar. In songwriting it is a sequ
repeated either as an intro, a verse, part of a verse, a chorus or in a bridge. The turnaround circles its chords, creating an
the listener that it makes a unit within itself. A song can feature one or more turnarounds. When it comes to combining t
trick with the turnaround device, it must be said that three-bar three-chord turnarounds are rare. Writers tend to prefer th
four-bar phrase (especially in 4/4 time). A 12-bar verse could divide into four 3-bar phrases:

G C D G C D G C D G C D

This creates an interesting tension because of the way the three pulls against the expectation of four. Each phrase sound
is missing, because we are so accustomed to four-bar phrases.

Three Chord Four Bar Turnarounds in a major key
It's more common to make a four-bar turnaround out of three chords with a return to the first in bar four. Here are some
IV and V:

I IV V IV: C F G F

'Wild Thing', 'Wishful Thinking', 'Don't Turn Around' v.

I IV V I: C F G C

'Lay Down Sally' ch.

I IV I V: C F C G

'Peggy Sue' I. 'Teach Your Children' v, 'Brown-Eyed Girl' v.

I V IV I: C G F C

'What Do I Do Now' ch.