Tadd Dameron turnaround

.

Conventional progression or cadence without tritone substitution, i.e., NOT 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:

| 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, and derive from the following series of substitutions, each altering the chord quality:

| 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.

"One of the most famous improvised lines that outlines the Dameron turnaround" .

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^∆7 and A♭^∆7. 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".