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Marc Bolan of T.Rex was fond of combining a 12-bar I IV V progression in one part of
a song with I VI IV V in another. This turnaround is now difficult to use in a "straight"
way because it sounds corny and over-familiar. It probably works better in a displaced
form, IV V I VI: 'I Can't Let Maggie Go' ch, 'Eton Rifles' ch, 'Independent Love Song',
'Sad Eyes' ch, 'Don't Dream It's Over' ch, 'Dead Ringer For Love' ch. 'Heart Of Gold' v
displaces it to VI IV V I. 'Ashes To Ashes' has it on the verse and displaced on the
chorus.I VI V IV: C Am G F
This switches the last two chords of the previous sequence in order to make a
descending progression.
'Come Back To What You Know' ch, 'Two Princes', 'Purple Rain' v, 'Dancing In The
Moonlight' v. In 'Chance' v, 'Ways To Be Wicked' ch, 'Sweet Soul Music' hk, 'Give Me
Just A Little More Time' ch, 'Love The One You're With' ch, 'Cast No Shadow' pch, the
sequence is displaced to VI V IV I.I IV VI V: C F Am G
'More Than A Feeling' ch, 'Talking About A Revolution', 'Never Forget', 'Dig Me',
'Room For The Life'.Here are some related sequences in which the middle chords have changed place:
I II VI V: C Dm Am GI VI II V: C Am Dm G
'Tell Me Why' v, 'Diana' v, 'How Do You Do It' ch, 'Lipstick On Your Collar', 'All My
Loving' displaced as II V I VI, 'Metal Guru' v in stretched form, 'Hungry Heart', 'You
Don't Have To Say You Love Me', 'Return To Sender', 'The Wonder Of You' v, 'I Will'
v, 'This Boy' v, 'You're Gonna Lose That Girl' ch, 'Without You' ch, 'All I Have To Do
Is Dream', 'Oblivious' ch. This turnaround is closely related to I VI IV V and can be
used as a substitute for it.I III VI V: C Em Am G
'I Think We're Alone Now', 'Waiting For An Alibi' v displaced as VI I III V.II III IV V: Dm Em F G
This creates a sense of suspension because I is delayed until another part of the song.
'Come And Get These Memories' v, 'This Old Heart Of Mine' v, 'Do Anything You
Wanna Do' v. It is powerful as the approach to a chorus, as in 'Heatwave', 'Wake Me Up