{"id":14210,"date":"2016-08-05T00:00:00","date_gmt":"2016-08-05T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=14210"},"modified":"2024-10-07T17:34:42","modified_gmt":"2024-10-08T01:34:42","slug":"tadd-dameron-turnaround-progression","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/tadd-dameron-turnaround-progression\/","title":{"rendered":"Who Else Wants To Learn The Tadd Dameron Turnaround Progression?"},"content":{"rendered":"

In today’s lesson, we’ll be learning how to play the Tadd Dameron turnaround progression.<\/p>\n

Turnaround progressions are important in the playing of songs and this is because they are used at the end of songs to cycle back to the beginning.<\/p>\n

We’re focusing on an important variant of the classic turnaround progression that was made popular by Tadd Dameron, a notable American composer, arranger, and pianist of the bop era (mid 1940s.) However, before we get into all of that, let’s do a review on the turn around chord progression.<\/p>\n

“What Is A Turnaround Chord Progression?”<\/em><\/h2>\n

There are so many ways to define a chord progression, however, according to Jermaine Griggs, “a chord progression is the root movement of chords from one degree of the scale to another.”<\/em><\/p>\n

The first tone of a chord is called its root and in any given major key there are usually 7 root notes that can be derived from the natural major scale. In the C natural major scale:
\n
\n…there are eighth scale degrees – C, D, E, F, G, A, B, and C. Root movement can be from one degree of the scale to another, and this is based on a number system.<\/p>\n

“Check out the number system…”<\/em><\/p>\n

C is 1<\/p>\n

D is 2<\/p>\n

E is 3<\/p>\n

F is 4<\/p>\n

G is 5<\/p>\n

A is 6<\/p>\n

B is 7<\/p>\n

C is 8<\/p>\n

Attention:<\/strong> In the key of C, C is one and eight, and this explains why the number eight <\/em>is not always used because it is a duplicate of the number one<\/em>. Consequently, root movements are described using numbers 1 to 7.<\/p>\n

The Turnaround Chord Progression<\/h3>\n

The turnaround chord progression is a special chord progression at the end of a [section of a] piece of music that cycles back to the beginning of that piece of music.<\/p>\n

Although there are a several kinds of turnaround chord progressions, however, they all share something in common, and that’s the ability to take a song back to its starting point. Consequently, turnaround progressions are not harmonically weak.<\/p>\n

Here’s what a basic turnaround in the key of C looks like:<\/p>\n

C – Amin – Dmin – G7<\/p><\/blockquote>\n

…which can be played as…<\/p>\n

C:
\n
\nAmin:
\n
\nDmin:
\n
\nG7:
\n
\nHowever, in the hands of an advanced musician, there’s definitely going to be some complex chords that will make it sound stronger and jazzier<\/em>. Check it out…<\/p>\n

Cmaj7 – Adom7[#5] – Dmin9 – Gdom7[b9,#5]<\/p><\/blockquote>\n

…and here’s how it can be voiced on the piano…<\/p>\n

Cmaj7:
\n
\nAdom7[#5]:
\n
\nDmin9:
\n
\nGdom7[b9,#5]:
\n
\nThe turnaround progression has several variants and they are usually formed by making changes and substitutions over the basic turnaround configuration. One of the common substitutions that is used to make the turnaround chord progression sound advanced is the tritone substitution.<\/p>\n

Before we go any further, let’s take a look at tritone substitution.<\/p>\n

“What Is Tritone Substitution?”<\/em><\/h2>\n

There are various chord substitutions in gospel and jazz music, however, the tritone substitution is one of the common chord substitution used in gospel and jazz music.<\/p>\n

A Short Note On The Tritone<\/h3>\n

The tritone is the melodic progression<\/a> that divides the octave into two equal parts.<\/p>\n

The octave:
\n
\n…encompasses eight notes, however, within this eight-tone compass are 12 semitones. The division of an octave (12 semitones) into two equal parts produces two tritones…<\/p>\n

C and F#:
\n
\nGb and C:
\n
\n…and each contains three whole steps.<\/p>\n

The tritone C-F#:
\n
\n…consists of three whole steps…<\/p>\n

C and D:
\n
\nD and E:
\n
\nE and F#:
\n
\nThe term tritone<\/em> literally means three [whole] tones (aka – “whole steps”.) Consequently, three whole steps from any note is its tritone.<\/p>\n

Here are the tritones of all twelve notes on the keyboard…<\/p>\n

The tritone of C:
\n
\n…is F#:<\/p>\n

…or Gb:<\/p>\n

The tritone of C#:
\n
\n…or Db:
\n
\n…is G:
\n
\nThe tritone of D:
\n
\n…is G#:
\n
\n…or Ab:
\n
\nThe tritone of D#:
\n
\n…or Eb:
\n
\n…is A:
\n
\nThe tritone of E:
\n
\n…is A#:
\n
\n…or Bb:
\n
\nThe tritone of F:
\n
\n…is B:
\n
\nThe tritone of F#:
\n
\n…or Gb:
\n
\n…is C:
\n
\nThe tritone of G:
\n
\n…is C#:
\n
\n…or Db:
\n
\nThe tritone of G#:
\n
\n…or Ab:
\n
\n…is D:
\n
\nThe tritone of A:
\n
\n…is D#:
\n
\n…or Eb:
\n
\nThe tritone of A#:
\n
\n…or Bb:
\n
\n…is E:
\n
\nThe tritone of B:
\n
\n…is F:
\n<\/p>\n

The Concept Of Tritone Substitution<\/h3>\n

In a chord progression, one, two, or all of the chords can be substituted and there are a variety of approaches to the substitution of a chord.<\/p>\n

The concept of tritone substitution<\/em> has to do with the substitution of a given chord with another chord that is a tritone lower (or higher.) Although this substitution works for dominant chords most of the time, it is also obtainable for other chord qualities.<\/p>\n

“Below is an example of tritone substitution in a 2-5-1 chord progression…”<\/em><\/p>\n

In a 2-5-1 chord progression in the key of C…<\/p>\n

Dmin9:
\n
\nG13[add9]:
\n
\nCmaj9:
\n
\nThe G13[add9] chord, (which is a dominant chord) can be substituted with another dominant chord whose root is a tritone lower (or higher) than G. A tritone below G:
\n
\n…is Db:
\n
\nConsequently, the Db13[add9] chord:
\n
\n…can be used to substitute the G13[add9] chord:
\n
\n…in the 2-5-1 chord progression.<\/p>\n

“Here’s a 2-5-1 chord progression in the key of C, using the tritone substitution in chord 5…”<\/em><\/p>\n

Dmin9:
\n
\nDb13[add9]:
\n
\nCmaj9:
\n
\nDid you see the twist in there? That’s one of the reasons for chord substitution.<\/p>\n

The Tadd Dameron Turnaround Progression<\/h2>\n

Tadd Dameron came up with a turnaround progression that involves the tritone substitution<\/strong> of the chords of the basic turnaround progression.<\/p>\n

Instead of the basic turnaround chord progression:<\/p>\n

Cmaj7 – Amin – Dmin – G7<\/p><\/blockquote>\n

Tadd Dameron would substitute Amin, Dmin, and G7 chords with dominant seventh chords that are a tritone below [or higher.]<\/p>\n