A I T T TT T I S T E P S
U I A I \I An
In-Depth
S tudy
of
Jotrn
coltrane's
clas sic
ProiectManager:MRON STANG Editors:COIOAN enVlN & DALE TURNER RhythmGuitar RON BERMAN RecordingEngineer:TOBY WEISS Design:DEBBIELIPTON @ 1997 WARNERBROS. PUBLICATIONS All RightsReserved compositions Any duplication,adaptationor arange.mentof the of the Publisher. containedin tni. .oirJion requiresthe writtenconsent in any way without permission' reProduced or photocopied be may book part this of No u.s. copyrightAct and are punishablebv law' unauthorizeduses are "" ,;;rig;;;;t'oitn"
I N T R . O I D U C T T O N It was my great privilege
to see John Coltrane play with his
quartet several times in my life. These experiences changed my life; for to be in the presence of such a creative force one does not remain the same. At that time I did not understand his music but r intuitively felt "here is a musician of great importance."
I can't claim
to understand his music fully
today, but the more I listen to it, and as the years have gone by, I can at least grasp part of it. This is enough to inspire me to try harder in my quest and to venture into areas that are new and fresh. I consider John coltrane to be the most important creative jazz musician of this century. I humbly dedicate this book to his memory.
Joe Diorio
CONTINTS
PACI-CD TRACK
"Giant Steps" Lead Sheet Jonn Coltrane's compositionGiantsfepsis withouta doubtthe mostchallengingjazzchord progression of the late 20th Century.This piecehas challenged and petrifiedcounlessjazz musicians sinceits recording in 1960.I haverun intogreatplayerswho havecomeup withendless excusesfor refusingto play it. I avoidedit for years until I did what Coltranedid-l startedto practiceit. This led me to writingmy own solos.Onlythendid the tune beginto yieldits complex nature.Soakup the melody.Be ableto quoteit at anytimeduringyoursolo.Collectas manyideas, licksand phrasesand applythemuntilyou are ableto quotethemat will.Inventyourown solos. Goodluck!
GIANT STEPS By John Goltrane
Am7
m
GmajT
sbt
EbmajT
Ff7
o 1974JOWCOLMUSTC All RightsReserved Usedby Permission
BmajT
5
HOW TO MEMORIZE"GIANT STEPS'' It is atwayseasierto approacha challenging song like GiantSfeps,by breakingit down into separatephrases. GiantStepsis a sixteenbar progression thatcan be dividedintoeightphrases: Phrase I
Phrase2 Bb7
BmqjT t
,
,
EbmajT
BmejT
. . . . . . . .
D7
,
Phrase3 GmejT
Am7
1 Phrase4 sbt
EbmajT
Phrase 7 Fm7
Fil7
sbt
BmqiT
Fm7
EbmqiT
Phrase8 cfmT
Bbl
F*7
Phrase1 measures1 through3 Phrase2 measure4 as a transitional measureto the keyof G Phrase3 measures 5 through7, whicharethe sameas Phrase1, a major3rd down Phrase4 measures I and9 as a ii-V-lin El Phrase5 measures10 and 11as a ii-V-lin G (sameas Phrase4, a major3rd up) Phrase6 measures12 and 13 as a ii-V-lin B (sameas Phrase5, a major3rd up) Phrase7 measures14 and '15as a ii-V-lin Eb(sameas Phrase6, a major3rd up) Phrase8 measure16 as a transitional measureleadingto thetop
Sincethistunechangeskeyso often,it is temptingto just breakit downand organizeit according to wherethe changesoccur.Whilethis wouldmaketechnicalsense,it does not make musical sense.TakePhrase1 for example:
Thesethreemeasures containthreedifferent tonalcentersstartingwithB and modulating to G and Ei, respectively. In spiteof thesechanges,theflowof the progression willmakemoresenseif you approachthesethreemeasuresas a singlephrase.Naturally, the samethingappliesto Phrase3 for the samereason. As you learnthe examplesthroughout this book,you shouldorganizeand memorizethe licks accordingto thisoutline.As you becomemorecomfortable you willstartto view withthe progression of the groupsas a singularideas.Aftera while,the entiretunewillblendtogetherand combinations thechangeswillfadeintothebackground. Thisis a suresignthatyougotit!
Single-NoteSolos solo 1 ?
I he pattemsin measures1, 2, 4 and5 are similarto horn patternscharacteristic of Coltrane. AnotherColtranesignature,unisonsequences, occursin measures7, 10, 12 and 14. Notice,from measure8 to the end,the repetitivepattemsandthe usageof unisons,4thsand Sths. CD
@ Example1 BnrrT
7
solo 2
Variationof Solo 1 Solo2 is a variationof Solo 1 with manyof the patternseitherbroughtup or downan octave.Note of octavesin measures7, 10 and 12. the absenceof unisonsthroughoutand the incorporation thissolo. Thereare stillnewideasthroughout
@ erample2 BnriT
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I
solo 3 howa motifcancarryus a longway.Thisis a veryimportant Thissolodemonstrates lesson.Look motifsthroughout. Thefirstsix measures for the manyrepetitive are a mixtureof 4th and5th patterns. The restof the solois mainlySths.In orderto understand thesepatterns, usethe youstartusingyourownfingerings. in theexample before fingerings
o Example3 Bn{7dil)
BmejT(fil)
solo 4 Motifshelpto makeup the bodyof Solo4. Thissolosoundstighterbecauseit doesn'tjumparound largeintervals. co
@ example4
EhmrjT
10
SOLO 5 Thissolois a greatstudyin Sths.Again,noticethe repetitivemotifs. CD
@ example5 BmrjT
EbmajT(f11)
GmajT($11)
EbmqiT(il1r)
11
SOLO 6: Triplet Study Solos 6, 7 and 8 Thesesolosare basicallythe samesolo madeup of 16th-notetriplets.The differenceis that while Solos7 and 8 usethe samenotes,theyare dispersedintodifferentregisters.For a smooth,legato feel,pickthe firstnoteof eachtripletand playthe followingnoteswitha hammer-onand a pull-off.
12
EbnajT(frl)
GmrjT(trr)
BmsjT6rr)
CfmT ,,-\
Fl7
13
SOLO 7: Triplet Study
14
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15
SOLO 8: Triplet Study CD
8 @ example
16
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17
solo 9 LikeSolo5, this solois a studyin Sths.In additionto alternatepicking,try pickingthisstudyusing onlydownstrokes.
@ example9 BmajT
18
SOLO 1O:Variation of Solos with Unisons Paystrictattention to to Coltrane. characteristic Sthswithunisonsequences Thissolocombines of theunisons. thefingering
@ example10
Bb-ejZ I nlrrriro-aon-1
m
Am7 lffioil
GmajT fF.:r'o;l
lun6on-]
CfmT f uni-.ionlB*1
19
soLo 11 of how far a singleideacan take you. Solo 11 utilizesone "shape" This is anotherdemonstration that is transposedto fit the harmony.Whilemadeup of 4ths and Sths,this solo doesn'tsoundas \ride" as some of the previoussolos.The symmetryof the melodicshapeis very effectivewhen playedat a moderateto fast tempo. co
@ Example11 BnriT
20
SOLO 12:.Be-Bop Style the effectiveness rhythmicpatternsthat breakaway of introducing Solos12 and 13 demonstrate first line. This is the example that introduces some rhythmicpatterns from the eighth-note the contemporary style.Experiment withplaying reminiscent of the Be-bopera,but it stillmaintains measuresin the solo an octavehigher.Notethe firstsix measuresare similarto the equivalent variations. Solo1 withrhythmic
@ example12 BmejT
GmajT
zl
solo 13 morerhythmic Thissolointroduces variations whilestillmaintaining the blendof Be-bopand playing lines.LikeSolo12,experiment contemporary with it anoctavehigher.
@ example13 BmajT
EbmejT
SOLO 14: lntroducing Octave Dispersion arestrict,descending chromatic andthefifthandsixthmeasures Noticethatthefirsttwomeasures Thistechnique is knownas octavedispersion. theoctaves. Obviously, throughout scalesdispersed intervals. thiscreateswidesounding
@ example14 BnrjT
EbmrjT(frr)
23
SOLO 15: Study of 4ths and Sths Noticehow the first three notes,Fil,B, E (descending) are the sameas the nextthreeascending notes'The intervalfrom Fil up to B is a 4th, but the interval from Ff downto B is a 5th.This means that 4thsand Sthsare inversionsof eachother.Try taking someof your favoritelicksand inverting themthe samewayfor an interesting, newangreto an ordrine. co
15 @ exampte BmsjT
EbMjT(rll)
BnejT(!rr)
GnqiT(f l1)
24
soLo 16 elements' discussed manyof thepreviously Thissoloreiterates
25
solo 17 fromdrumto drumgavemethe idea Hisbouncing by an electricdrummer. Thissolowasinspired adjacentstringsthroughout' in thesebouncyideascrossing to usethe stringsas drumsresulting thissolo' whenplaying Thinkpercussion
26
Additional Melodic Patterns FORTHE FIRSTTHREEMEASURES PATTERNS sixteenexamples are the hardestpartof this piece.Thefollowing Tne trst threemeasures keys. of leamingthemas onephraseinsteadof a seriesof separate theadvantages demonstrate 5 through7. theseideasdowna maior3rdformeasures Transpose CD
@ erample18 Bqn
@ erample20
co
@ example21 Brrrj?
CD
@ example22
23 @ example BnriT
@ example_24
CD
@ example25 Bn{7
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@ Example27
co
@ Example28 BmajT
Example29 Bm4j7
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Example30 BmejT
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Example31 BmajT
29
@ example32
PATTERNSFOR THE II.V7-I The ii-V7-lprogression showsup, wholeor in part,ten timeswithinthe song.The followingsix exampleswill supplement your vocabularyof ii-V7-lideas.you can automatically plug each exampleinto Phrase4 of the progression sincetheirtonalcenteris El. Transposetheselinesto fit theotherii-V7-lphrases. CD
@ example34 #-nt
co
36 @ example Fm7
CD
@ erample37
co
@ example38
@ Example39 Fm7
31
All Minor By usingsome basicsubstitution principles,you can actuallyplaythroughthe entiresong using onlyminorideas. lf you wereto list the notesof a G$m9chord(Gf B Dl Fl Ail)you woulddiscoverthat you actually have a BmajTwith a Gl in the bass.This allowsyou to use GfmT licksand ideasw1h a BmajT harmony.Youcan substituteany majorchordwiththe minorchorddowna minor3rd or up a major 3rd. lf you comparethe Am7 (A C E G) to D7 (D FilA C), you willfindthatAm7 containsthe Sth(A) and b7(C) of the D7. The E and G add a 9th and 11th,respectively, to the D7 chord.This enablesyou to treat any dominant7 as a minorchord down a perfect4th. Anotherway to approachthis is to viewany ii-W progression as onlya iichord. After you reducethe entire progressionto minor chords,you will end up with the following progression:
32
Ghord-Melody Solos Ou"r the years I have writtenseveralversionsof Giant Stepsin chord-melody form. I have includedthemall.Theywillgiveyoua diverseamountof harmonic information.
REHARMONIZED WITH CHROMATICBASS The chromaticbass-linedefinedthis reharmonized chordsolo.The progression startswith the fum11chordwhichfunctionsas the VlmTof Bmaj7.Oncethe outervoicings(themelodyand the chromaticbass-line)were established, the innervoicingswere chosenby ear throughvoice leading.Whilethe harmonydoesventure"outside"the originalstructure,it managesto step back intothe originalharmonyat the beginning of eachphrase.
fi
Example40 AlmlUAb
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FFtrN
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33
ALTERNATEHARMONIZATION "A" sectionis the firstfourmeasures of the previoussolofollowedby four Thisvariationon the changes. of altemate measures co
@ example41 x .
oo FFffi I a llltl n l t t l FFTTN
r t I | | |
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ffi'n F11+
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ffi'n t-fFFfa
funn? x
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SUSPENDED CHORDS chordsto giveit an appealing, Youcan voiceeverychordwithsuspended freshnewsoundthat deviatesfromtheoriginalprogression. GO
42 @ Erample Fftu
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Bsus
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EXOTICCHORDMELODY1,2 AND 3 Thefollowing presentmanynewvoicingswithinthe contextof one progression. threeexamples youfindnewchordsthatappealto you,makesurethatyouworkthemintoyouiplaying Whenever as soonas possible by usingthemin a tuneor writingthemintoan originaltune. co
@ Example43: ExoticChord Melody1
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ffi"" FFFFH
Am9 xx Trrr|-l
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WALKINGBASS.LINEWITH MELODY Thebass-line couldbe thoughtof as a counter-line or counterpoint in thestyleof J.S.Bach.Make sureto writeoneof yourownafterleaming thisexample. co
tl6 @ ExampleBEriT
I
i4
EbErjT
Gil{7
I z-
r!-siz
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Am7
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rt7
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GmrjT (t
rb-a-' f t r
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39
COMPINGSOLOWITHPEDALPOINTS music.PedalPointsgivea feelingof beingin Pedalpointsareuseda greatdealin contemporary Thepedalpointsstartin measure movesundemeath. 8 withan entireiionekeywhiletheharmony ii-V7-lprogressions that in Er playedwitha Bbin the bass.All of the following V7-l progression followusetheexactsamelogicof addingtherootof theV7chordto thebassof theii andI chords.
@ example47
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D13
rl mrrn
x
ffi'on rtff'H
ffi
Bb13
1 Ir.
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Additional Ghord patterns with Melody Tnis sectionpresents excerpts of chordmelodies designed to increase yourchordvocabulary. The qualitiesrangefromsimplesuspended chordsto .orpi* altereddominant chords.Takeyourtime andgrow.
FOUR-BARPATTERNS WITHMELODY co
@ Example48
m'" ffi,"ffi"
nrs0c) xx
ffi'0" m'.'
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ffi
bo-
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@ Example49 ,BT,.j7
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x
ffi,o. trIH
m'"
,IbtnUr9
x
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ffi,on ffiil
DTsus ------I
fffi'or" ffi
ho-
S0 @ exampte BmrjT
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X
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Bbxr3(fn)
Effi,n ffi
ffi,n
ffi
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otbcl
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x
bo-
@ Example51 tr4 TrrT-n
Df3'ss
x ^
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ffit 3 r t a
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ffi,n
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I he following thirteenii V7 I chordvoicingsareprimarily suspended chords.Transpose themto applythemto the remaining ii V7 I progressions in the Bridge.Combining suspended chordsto otherchordqualities createsa refreshing newsound. co .z\
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