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:

| CE7| A7D7|
Play .
Conventional progression or cadence without tritone substitution, i.e., NOT Tadd Dameron turnaround. Play 

rather than the more conventional:

| CAm7|Dm7G7|

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]

| CM7Am7| Dm7G7| (original)
| CM7A7| D7G7| (dominant for minor triad)
| CM7E7| A7D7| (Dameron turnaround: tritone substitution)
| CM7EM7|AM7DM7| (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"[1][3] Play .

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 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]