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".
- Coker, et al (1982). Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation, p.118. ISBN 0-89898-703-2.
- Bahha and Rollins (2005). Jazzology, p.103. ISBN 0-634-08678-2.
- Richard Lawn, Jeffrey L. Hellmer (1996). Jazz: Theory and Practice, p.118-19. ISBN 0-88284-722-8.
- Lyon, Jason (2007). "Coltrane's Substitution Tunes", in www.opus28.co.uk/jazzarticles.html.
- Scott, Richard J. (2003). Chord Progressions For Songwriters, p.234. ISBN 9780595263844.
|This music theory article is a stub. You can help Wikipedia by expanding it.|