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|

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.

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]


  1. Coker, et al (1982). Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation, p.118. ISBN 0-89898-703-2.
  2. Bahha and Rollins (2005). Jazzology, p.103. ISBN 0-634-08678-2.
  3. Richard Lawn, Jeffrey L. Hellmer (1996). Jazz: Theory and Practice, p.118-19. ISBN 0-88284-722-8.
  4. Lyon, Jason (2007). "Coltrane's Substitution Tunes", in www.opus28.co.uk/jazzarticles.html.
  5. Scott, Richard J. (2003). Chord Progressions For Songwriters, p.234. ISBN 9780595263844.
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