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Coltrane Substituttion Changes

This document discusses John Coltrane's innovations in jazz theory, specifically the Coltrane changes and their application. The Coltrane changes involve modulating chord progressions down by a major third. This pattern is demonstrated on Coltrane's "Giant Steps" and "Countdown." On "Countdown," Coltrane applied the Coltrane changes as substitutions over the ii-V-I progressions in "Tune Up." Later, Coltrane used the "Giant Steps" and "Countdown" progressions as substitutions over several standard tunes and originals.

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879 views2 pages

Coltrane Substituttion Changes

This document discusses John Coltrane's innovations in jazz theory, specifically the Coltrane changes and their application. The Coltrane changes involve modulating chord progressions down by a major third. This pattern is demonstrated on Coltrane's "Giant Steps" and "Countdown." On "Countdown," Coltrane applied the Coltrane changes as substitutions over the ii-V-I progressions in "Tune Up." Later, Coltrane used the "Giant Steps" and "Countdown" progressions as substitutions over several standard tunes and originals.

Uploaded by

roccotullo
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
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Jazz Theory Notes

Coltrane Changes
Coltrane changes involve repeatedly modulating down a major third. Other names associated with the progression are Coltrane Matrix, Coltrane Cycle, or simply Coltrane su stitutions.

Giant Steps
!e see repeated modulations down a major third in the ridge o" #$ave %ou Met Miss Jones#. #$ave %ou Met Miss Jones# & ridge' (( ) (* +, -(. ( /+ *- ( , ( Transpose this up a hal" step and remove the minor chords and you have the se0uence "or the "irst hal" o" #.iant 1teps# &m. 2+3, 4+-'. The second hal" o" #.iant 1teps# and measures 3+4 modulate up y major thirds. The entire tune comprises the same three 5eys. (( ) ,- ( . ) - ( / ( . ) - ( / 67- ( ) (( / ( ) ( *+ ,- ( . ( 6+ ) - ( / ( *+ ,(

( 6+ ) - (( ( C7+ 67- ( ( C7+ 67- ((

!e o serve that the pattern o" #.iant 1teps# changes8 egin on a major chord, move up a m3 to a dominant, resolve down a 4th to major, move up a m3 to a dominant, resolve down a 4th to major. 9" continued the pattern repeats continuously++( ) ,- ( . ) - ( / 67- ( ) ,- ( etc.++hence the term #Coltrane Cycle#.

Coltrane Changes as ii V I Substitution


9n #Countdown# Coltrane applied the cycle o" major third modulation to the ii : 9 progressions "ound in #Tune ;p#. )elow we see the chords "or #Tune ;p# and the chords Coltrane su stituted to create #Countdown#. Notice that the last "our measures are the same, and that, coincidentally&<', the three chords in measures 23+24 match the "irst three chords o" the Coltrane su stitutions. Tune ;p=Countdown (( /+ ( *(, (, (( /+ 6- ( ) C7- ( 67 *- ( , ( ,+ ( .(C (C ( ,+ / - ( * )- ( / .- ( C ( C+ ( 6() () ( C+ C7- ( 67 *- ( , 6- ( ) ( /+ ( /+ ( 6( 6() () ( *( *( ( ( ( ( ( (( ((

Coltrane su se0uently applied the #.iant 1teps# and #Countdown# progressions as chord su stitutions over several standard tunes and jazz originals &#)ut Not "or Me# and #)ody and 1oul,# #Con"irmation# ecame #>?+>,# #$ow $igh the Moon# ecame #1atellite,# #!hat is This Thing Called @ove#=#$ot $ouse# ecame #6i"th $ouse,# and so on'.

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