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: rather than the more conventional: 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] 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.

[3][5] Further examples of pieces including this turnaround are Miles Davis' "Half-Nelson" and John Carisi's "Israel".