Tadd Dameron turnaround

In jazz, the Tadd Dameron turnaround, named for jazz composer 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.

Tadd Dameron turnaround in C major with major seventh chords

In C major, the Tadd Dameron turnaround is

| C

E♭7

| A♭7

D♭7

|

Conventional progression without tritone substitution (i.e., NOT a Tadd Dameron turnaround)

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]

| C∆7	Am7	| Dm7	G7	|	(original)
| C∆7	A7	| D7	G7	|	(dominant for minor triad)
| C∆7	E♭7	| A♭7	D♭7	|	(Dameron turnaround: tritone substitution)
| C∆7	E♭∆7	| A♭∆7	D♭∆7	|	(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]

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, C^∆7 and A♭^∆7.^[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's "Half Nelson" and John Carisi's "Israel".^[1]