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:
|| 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 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 John Coltrane's Coltrane changes. The Dameron turnaround has alternately been called the "Coltrane turnaround".