Tadd Dameron turnaround
Chord progression
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In jazz, the Tadd Dameron turnaround, named for jazz composer 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.
Construction
In C major, the Tadd Dameron turnaround is
| C E♭7 | A♭7 D♭7 |
rather than the more conventional
| C Am7 | 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.[2][3]
| C∆7 Am7 | Dm7 G7 | (original) | C∆7 A7 | D7 G7 | (dominant for minor triad) | C∆7 E♭7 | A♭7 D♭7 | (Dameron turnaround: tritone substitution) | C∆7 E♭∆7 | A♭∆7 D♭∆7 | (major for dominant seventh)
The last step, changing to the major seventh chord, is optional.
History
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, C∆7 and A♭∆7.[4] It has been suggested that this motion down by major thirds would eventually lead to John Coltrane's Coltrane changes.[4] The Dameron turnaround has alternately been called the "Coltrane turnaround".[3][5]
Further examples of pieces including this turnaround are Miles Davis's "Half Nelson" and John Carisi's "Israel".[1]
