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:
| 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]
| CM7 | Am7 | | Dm7 | G7 | | (original) |
| CM7 | A7 | | D7 | G7 | | (dominant for minor triad) |
| CM7 | E♭7 | | A♭7 | D♭7 | | (Dameron turnaround: tritone substitution) |
| CM7 | E♭M7 | |A♭M7 | D♭M7 | | (major for dominant seventh) |
The last step, changing to the major seventh chord, 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 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]