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Tadd Dameron turnaround

Conventional progression or cadence without tritone substitution, i.e., NOT Tadd Dameron turnaround. About this soundPlay 

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 E7 | A7 D7 |

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]

| CM7 Am7 | Dm7 G7 | (original)
| CM7 A7 | D7 G7 | (dominant for minor triad)
| CM7 E7 | A7 D7 | (Dameron turnaround: tritone substitution)
| CM7 EM7 | AM7 DM7 | (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]About this soundPlay .

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]

References [ edit ]

  1. ^ 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.
  2. ^ a b Bahha and Rollins (2005). Jazzology, p.103. ISBN 0-634-08678-2.
  3. ^ a b c d Richard Lawn, Jeffrey L. Hellmer (1996). Jazz: Theory and Practice, p.118-19. ISBN 0-88284-722-8.
  4. ^ a b 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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