V–IV–I turnaround

"[3][4] V may be used in the last measure rather than I since, "nearly all blues tunes have more than one chorus (occurrence of the 12-bar progression), the turnaround (last four bars) usually ends on V, which makes us feel like we need to hear I again, thus bringing us around to the top (beginning) of the form again.".

[3] "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".

[6] The root movement of the V−IV−I cadential formula found in the blues is considered nontraditional from the standpoint of Western harmony.

[7] The motion of the V−IV−I cadence has been considered "backward,"[2] as, in traditional harmony, the subdominant normally prepares for the dominant which then has a strong tendency to resolve to the tonic.

[8] The blues turnaround may be "dress[ed] up" by using V aug Playⓘ ("an uptown V7") instead of V7 Playⓘ, "adding a touch of jazzy sophistication.

V–IV–I progression in C Play ⓘ
"The stock jazz-blues turnaround [I 7 –VI 7 –ii 7 –V 7 ]. More specifically the I–VI–ii–V 7 turnaround that can be found in jazz and many non-jazz styles. If there is one turnaround...that has to become second nature, this is it." [ 9 ] Play ⓘ .