In jazz, the Tadd Dameron turnaround, named for Tadd Dameron, "is a very common turnaround in the jazz idiom"[1], 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:
CM Eb7 | Ab7 Db7 ||
rather than the more conventional:
CM A7 | Dm7 G7 ||
The Tadd Dameron turnaround may feature major seventh chords[2], and derive from the following series of substitutions, each altering the chord quality:[3][2]
CM7 Am7 | Dm7 G7 || (original) CM7 A7 | D7 G7 || (dominant for minor triad) CM7 Eb7 | Ab7 Db7 || (Dameron turnaround: tritone substitution) CM7 EbM7 | AbM7 DbM7 || (major for dominant seventh)
The last step, changing to the major seventh is optional.
Dameron was the first composer[3] 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, CM7 and A♭M7.[4] It has been suggested that this motion down by major thirds would eventually lead to the John Coltrane's Coltrane changes.[4]
Further examples of pieces including this turnaround are Miles Davis' "Half-Nelson" and John Carisi's "Israel".[1] The chord pattern has alternately been called the "Coltrane turnaround."[3]
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