John Coltrane’s “Giant Steps” brought about a harmonic revolution in the pursuit of multitonic changes based on the notes of descending B (B-G-E♭/G-E♭-B) and ascending E♭ (E♭-G-B-E♭) augmented triads. During 1959 and 1960, Coltrane conducted experiments with the major thirds cycles on many other compositions. Coltrane’s exploration can be interpreted in four aspects: Original, Re-composed (with original melodies and his own harmonic formula), Re-harmonized and Superimposed. It can be best tabulated in Ex-1:
Coltrane employs superimposed technique during his solos on “Grand Central” (Ex-2*). It bears a close resemblance to the last two bars of Tadd Dameron’s “Lady Bird” <NOTE: In passing, the “turnarounds”of “Lady Bird” produces a microcosm of the whole key structures in the tune> (Ex-3):
t is also interesting to note that Coltrane created “Fifth House” by recomposing the idea of Tadd’s “Hot House.”
*For Ex-2, see my book John Coltrane Plays “Coltrane Changes” (Hal Leonard Corporation), p.65.
More Articles in Community Articles
Fostering Jazz on Cape Cod
LED BIB Pushes The Envelope On RareNoise Debut UMBRELLA WEATHER
Clarinettist Luca Luciano’s “Poeta Tour 2017”
The Jazz Owl's Favorites of 2016
Jazz Orchestra of Philadelphia: The Harlem Nutcracker and “Trane-ing Day” A Tribute to John Coltrane
Karen Brundage-Johnson, PhD.
"A Peter White Christmas" at The Wolf's Den