Tadd Dameron turnaround
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:
CM Eb7 | Ab7 Db7 ||
rather than the more conventional:
CM Am7 | Dm7 G7 ||
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 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. It has been suggested that this motion down by major thirds would eventually lead to the John Coltrane's Coltrane changes. The Dameron turnaround has alternately been called the "Coltrane turnaround".
See also 
- Coker, et al (1982). Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation, p.118. ISBN 0-89898-703-2.
- Bahha and Rollins (2005). Jazzology, p.103. ISBN 0-634-08678-2.
- Richard Lawn, Jeffrey L. Hellmer (1996). Jazz: Theory and Practice, p.118-19. ISBN 0-88284-722-8.
- Lyon, Jason (2007). "Coltrane's Substitution Tunes", in www.opus28.co.uk/jazzarticles.html.
- Scott, Richard J. (2003). Chord Progressions For Songwriters, p.234. ISBN 9780595263844.
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