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]
| | 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.
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' "Half-Nelson" and John Carisi's "Israel".[1]
References
edit- ^ a b c Coker, et al (1982). Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation, p.118. ISBN 0-89898-703-2.
- ^ a b Bahha and Rollins (2005). Jazzology, p.103. ISBN 0-634-08678-2.
- ^ a b c d Richard Lawn, Jeffrey L. Hellmer (1996). Jazz: Theory and Practice, p.118-19. ISBN 0-88284-722-8.
- ^ a b 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.
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