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Tadd Dameron turnaround

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Tadd Dameron turnaround


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  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]

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 AM7.[4] It has been suggested that this motion down by major thirds would eventually lead to the 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' "Half-Nelson" and John Carisi's "Israel".[1]

See also

References


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