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.^[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]

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