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In jazz, the Tadd Dameron turnaround, named for Tadd Dameron, "is a very common turnaround in the jazz idiom", derived from a typical I−vi−ii−V turnaround through the application of tritone substitution of all but the first chord, thus yielding, in C major:

rather than the more conventional:

The Tadd Dameron turnaround may feature major seventh chords, and derive from the following series of substitutions, each altering the chord quality:

The last step, changing to the major seventh chord, is optional.

Dameron was the first composer to use the turnaround in his standard "Lady Bird", which contains a modulation down a major third (from C to A♭). This key relation is also implied by the first and third chord of the turnaround, C and A♭. It has been suggested that this motion down by major thirds would eventually lead to John Coltrane's Coltrane changes. The Dameron turnaround has alternately been called the "Coltrane turnaround".

Further examples of pieces including this turnaround are Miles Davis' "Half-Nelson" and John Carisi's "Israel".

References

1. ^ Coker, et al (1982). Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation, p.118. ISBN 0-89898-703-2.
2. ^ Bahha and Rollins (2005). Jazzology, p.103. ISBN 0-634-08678-2.
3. ^ Richard Lawn, Jeffrey L. Hellmer (1996). Jazz: Theory and Practice, p.118-19. ISBN 0-88284-722-8.
4. ^ Lyon, Jason (2007). "Coltrane's Substitution Tunes", in www.opus28.co.uk/jazzarticles.html.
5. Scott, Richard J. (2003). Chord Progressions For Songwriters, p.234. ISBN 9780595263844.

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