|
In jazz, the Tadd Dameron turnaround, named for Tadd Dameron, "is a very common turnaround in the jazz idiom",〔Coker, et al (1982). ''Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation'', p.118. ISBN 0-89898-703-2.〕 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: CM Eb7 | Ab7 Db7 || rather than the more conventional: CM Am7 | Dm7 G7 || The Tadd Dameron turnaround may feature major seventh chords,〔 and derive from the following series of substitutions, each altering the chord quality:〔Bahha and Rollins (2005). ''Jazzology'', p.103. ISBN 0-634-08678-2.〕〔Richard Lawn, Jeffrey L. Hellmer (1996). ''Jazz: Theory and Practice'', p.118-19. ISBN 0-88284-722-8.〕 CM7 Am7 | Dm7 G7 || (original) CM7 A7 | D7 G7 || (dominant for minor triad) CM7 Eb7 | Ab7 Db7 || (Dameron turnaround: tritone substitution) CM7 EbM7 | AbM7 DbM7 || (major for dominant seventh) The last step, changing to the major seventh is optional. Dameron was the first composer〔 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.〔 It has been suggested that this motion down by major thirds would eventually lead to John Coltrane's Coltrane changes.〔Lyon, Jason (2007). ("Coltrane's Substitution Tunes" ), in (www.opus28.co.uk/jazzarticles.html ).〕 The Dameron turnaround has alternately been called the "Coltrane turnaround".〔〔Scott, Richard J. (2003). ''Chord Progressions For Songwriters'', p.234. ISBN 9780595263844.〕 Further examples of pieces including this turnaround are Miles Davis' "Half-Nelson" and John Carisi's "Israel".〔 ==See also== *"Have You Met Miss Jones?" 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Tadd Dameron turnaround」の詳細全文を読む スポンサード リンク
|