GTJT:TA,R, E D I T I O N I]TBSTTBCD mel bay presents GI.T TA.R, EDITIOT Esserrtia.I Jazz l-ines with play-along ICD
I fi( rty0"ffohll ooltrane
Thisbook of originalmusical studies and analysesby GoreyChristiansen and Kim Bock is designedto help you developyour ownpersonal improvising style. NT JohnColtrane 2 Track I l: Major Moving in Fourths 39 The Style of JohnColtrane 3 Minor ii-V Material 40 IazzLanguage 3 Track 12: Minor ii-V Vamp 43 Guide Tones 4 Track 13: Minor ii-V Moving in Fourths 43 Bebop Scales 5 Play Along Recordings Mixolydian Bebop 5 Track 14: Short ii-V-I Vamp 44 Major Bebop 7 Track 15: Short ii-V-I Moving in Fourths 44 Minor Bebop 8 Track 16: Long ii-V-I Vamp 45 ScalarPattems 9 Track 17: Long ii-V-I Moving in Fourths 45 3-t9 l0 Track 18: Minor ii-V-i Vamp 47 AugmentedDominant I I Track 19: Minor ii-V-i Moving in Fourths 47 Playingthe Upper-Structureof Chords 12 Tumarounds 48 Targeting 13 Track 20: TurnaroundVamp 49 Substitutions 16 Track 21: TumaroundMoving in Fourths 49 JohnColtrane's Style 19 CreatingSolos 50 Summary 19 TrackZ2: CreatingSolos 50 Minor Chord Material 20 Track23: ProgressionSimilar to PentUp House 52 Track l: Tuning Coltrane Changes/GiantSteps 53 Track 2: Minor Chord Vamp 24 Practicins Coltrane Chanses 54 Track 3: Minor Moving in Fourths 24 Track24: Long ii-V-l with Coltrane Dominant SeventhChord Material 25 ChangesVamp 55 Track 4: Dominant SeventhVamp 27 Track25: Long ii-V-I with Coltrane Track 5: Dominant SeventhMoving ChangesMoving in Fourths 55 in Fourths 21 Track26: Eight Measure One Measureii-V (Short ii-V) Material 28 Giant StepsVamp 51 Track 6: Short ii-V Vamp 3 I Track 27 : ProgressionSimilar to Track 7: Short ii-V Moving in Fourths 3l Giant Steps 57 Two Measureii-V (lnng ii-V) Material 32 Superimposingthe Coltrane Changes 58 Track 8: Long ii-V Vamp 35 Track 28: Blues for a Giant 59 Track 9: Long ii-V Moving in Fourths 35 Track29: SnapShots 6r Major (l) Chord Material 36 Conclusion 63 Track l0: Major Vamp 39 SelectedDiscography 63 About the Authors 64
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@2OO2 BY MEL BAY PUBLICATIONS,INC., PACIFIC, MO 63069. ALL RIGHTSRESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTEDIN U.S.A. No part ol lhis publicationmay be reproducedin whole or in part, or stored in a retrievalsystem, or transminedin any lorm or by any means, electronic,mechanical, photocopy, recording, or otherwise,without written permissionof the publisher. Visit us on the Webat www.melbay.com- E-mail us at [email protected] JohnGoltrane John Coltrane (1926-1967) was one of the most innovative and creativejazz artists of the 20th Century. His profound influence on not only saxophonistsbut also playersof all instrumentscontinues to this day. In a relatively short career,he constantlydeveloped and evolved asa player. Both stylistically and harmonically, he openeddoors for others to follow. Coltrane's careercan be divided into three main periods. I) Joining Miles Davis in 1955,Coltrane was in an environment where he could explore and develop his own style.Coltrane'splayingatthispointshowsevidenceofhismaininfluencesasajazzplayercomingoutofthebebop area.With a highly personalsound his playing is rootedin the beboplanguage. Influence of jazz greatsCharlieParker and tenor playerslike Dexter Gordon and Sonny Rollins is evident. During this time he evolved into a true virtuoso "sheets on the saxophone.Toward the end of this period, a critic coined the term of sound" to describeColtrane's use of sixteenth,thirty-second note, asymmetricalphrases and cascadingruns in negotiating the chord changeshe was improvisingover. II) In Coltrane'ssecond perid from late 1950'sto the mid 1960's,he experimentedmore with variouschord substitutions.This culminated with his groundbreaking compositions "Countdown" and "Giant Steps" (1959). Theseand other of his compositionsfeature a sophisticatedchord progressionof V-I's moving in major thirds thus producinga tri-tonic system. "Kindof This is alsotheperid whereMilesDavisrecordedthealbum Blue." Itwas towardtheendofColtrane's tenurewith Miles Davis and the modal conceptson that recording inspiredColtrane. In the early 1960's,we seehim employ pedal points and he would write compositions basedon certain modes instead of a set of regular chord changes.When soloingover the pedalpoints he would experimentplaying/superimposing various substitutionsover the given harmonic basethus controlling a higher level of tension/release. III) Coltrane's third perid, from the mid 1960's until his death in1967, can be called his experimentalperiod. He was delving into "free jazz" andexperimentingon many different levels. Often therewould not be any specified chord progtessionsand the musicianswould reactto the music of the moment.Coltrane experimented with different instrumentationwith his groups,saxophone-sound devices such as alternate fingerings, harmonics,multifonics, and timbral explorations were also expressivetechniques Coltrane developedand adaptedinto his playing. A deepfeeling of intensity in his playing was presentthroughout his career.Long, soaring,high-energy solos were characteristicfor his stvle in the 1960's. TheStyle of JohnColtrane This book will focus on the first period of John Coltrane's career andthejazz vocabularyhe used.The text will presentnumerous lines in the style of John Coltrane.These one, two and three measurelines have beengrouped by the harmonyover which they canbe used.Each line presentedshould be practicedwith the accompanyingplay-along CD. After the line has been masteredin the key in which it is presented,it should be masteredin all twelve keys. For this purpose,each sectionhas a play-along track that modulatesthrough the cycle of fourths. The line should be transposedand practiced with the modulating play-along track to ensuremastery in all twelve keys. Someof the techniquesused in the John Coltranestyle will alsobe discussedand examplesshown. This will help musiciansanalyze each of the ideas presented,further ensuring masteryof theseideas. The goal is for many of theseideas to be assimilatedinto each player's musical vocabulary.By understandingthe conceptsused in creatingthe lines in this book, the player will be able to start creatinghis/trer own original ideasin the style of John Coltrane. "Giant We will alsolook at JohnColtrane's use of chordchange substitutions. The Steps"cycle will beanalyzed and a practice model for the player to adapt this progressioninto his/trer own improvisation is presented. It is imperative that you listen, listen and listen to the music of John Coltrane! A languagecan only be learned if you know what it is supposedto soundlike! Listen for the notesbeing played, andjust as important, listen for the articulation, the dynamics,the phrasing,the spacein-between the notes,the soundof the tone and the overall feeling of the music. Good luck and enjoy working with this wonderful music.
Corev& Kim
JazzLanguage When John Coltranecame about as a player,jazz was continuouslyevolving in new and exciting ways. The "giants" heritagefrom the swing area like Coleman Hawkins, Lester Young, Louis Armsffong, Ben Webster and many others was still a major influence on any upcoming player. Just as important was the impact that the bebop "revolution" in the 1940'shad on the developmentof jazz. Bebopcreators Charlie Parker and John Birks "Dizzy" Gillespie developeda new style ofjazz. Fasttempos, high energysolos and highly sophisticatedharmonic concepts are all characteristicsof the bebop style. To better understandthe musical environment a player like John Coltrane was a part of in the early 1950's, let us examine in detail some of the devices used in jazz improvisation and more specifically in the bebop style of improvising.
3 GuideTones
Guide tonesare the notes in a chord which lead or give harmonic pull toward.thenext chord. This is typically the third and the seventhof the chord. A simple ii-V-I progressionwill demonstratehow guide tones work. In the ii-V-I progression,notice that the seventhof the Dm7 chord (C) leadsto the third of the G7 chord (B) by a half step. The third degreeof the Dm7 chord (F) is carried over to the seventhof the G7 chord (in a lower octave).In the G7 chord the interval betweenthe two guide tones B (third degree)and F (seventhdegree) is actually a tri-tone. This is an interval with a high degreeof tension and it naturally must move toward release.The releasecomes when we move from the Dominant V chord (G7) to the Tonic I chord (CMaj7). The seventhof G7 (F) resolvesto the third of C major (E) by moving down a half step and the third degreeof G7 (B) carriesover to CMajT where it becomes the seventhdegree.
CMajT
When improvisingover a ii-V-I progression,we oftenuse guide tones. They help outlining the chordchanges. The examplebelow showsa typical line over a ii-V-I progression.
CMajT
4 tsebopScales
Bebop scalesare scaleswith addedchromatic passingtones which allow the chord tones in a scale(normally the lst, 3rd, 5th and 7th scale degrees)to be played on down beats (strong beats) when eighth notes are played throughoutthe scale.This techniqueis widely usedby jazz musicians.There are three.basicbebop scales.The Mixolydian (dominantseventh) bebop scale is usedprimarily on dominantseventh chords. The major bebopscale can be used over major chords and the minor bebop scalecan be used over minor chords. Each of thesescales is an eight-notescale rather than the typical seven-notescale.
The Mixolydian bebop scalediffers from the Mixolydian mode in that there is an extra note betweenthe root and the flatted seventhdegree of the regular Mixolydian mode. This Mixolydian bebop scale is shown below. MixolydianBebop (Played over dominant seventh chords) G Mixolydian Bebop
Scale Degree
Mixolydian Bebop = o a RootNote @
I tl)l) I )() R+ )( )lI I )( R r( )O O O t
I tlI I I
ll)oo I rOOOr
I I tl
I
(
@ @
I l I ,II I )l)( >(,l O
I I )(
I llllI I R '( )(1l R-+ )t tlI I ){
* The scale diagram and fingerings in this book are only suggestions.Each student should experiment with their own fingerings. 5 When a musician startson a downbeatand a chord tone and plays this scalewith eighth notes,each of the chord tonesin a dominant seventhchord will be played on a downbeat(strong beat). Becausethe bebop scalesare eight- note scales,it takes exactly four counts to play each scaleusing eight notes.
G7
The following musicalexample shows how onemight usethis scalewhen improvising over a dominantseventh chord. G7
Using the Mixolydian bebop over the ii-minor chord When playing over a ii-V progression,the Mixolydian bebop scaleworks perfect on the V chord (dominant). However, the individual chord scalesfor the two chords all sharethe samenotes. When looking at a ii-V in the key of C major (Dmin7 - G7) the sevennotes in the regular scalesfor D Dorian and G Mixolydian are all the same.It is common to apply the Mixolydian bebop to the ii-minor chord as well as the V chord (Charlie Parker often used this device in his playing). The ii-V progressionis seenas one structurewhere the Mixolydian bebop scalecan be used (and not as two separatechords). Note that when the Mixolydian bebop scale is played over the ii-minor chord, only two chord tones fall on a strong beat.That is okay. We will perceivethe sound as a harmonic anticipation of the V chord. Below are two examplesof how one can usethe Mixolydian bebopscale over both the ii-minor and the V chord.
Dm7
6 MajorBebop (Playedover major seventhchords) C Major Bebop
Major Bebop O @
I )-l I I tl)
fl+ )t t I )( R 'Ot I I rl
I )-l I I I I )ooo( )o I I I t I I @ o Like the other bebopscales, the major bebop scaleis an eighth-notescale and will take exactly four beatsto play if eighth notes are used.If one startson a chord tone and plays this scaleutilizing eighth notes, each of the chord tonesin the respectivemajor chord will be played on a downbeat.The following pageshows an exampleof how one might usethis scalewhen improvising. CMajT CMajT MinorBebop (Played over minor seventh chords) As mentionedearlier, the Mixolydian bebopscale is often appliedover both the ii-minor and the V chord in a ii-V progression.However, it is possibleto usea minor bebopscale over the ii-minor chord on its own. The minor bebopscale is shown as one exampleof a minor bebopscale. The minor bebop scalediffers from the Dorian mode in that it has an extra note betweenthe root and the flatted seventhdegree of the regularminor mode.The minor bebopscale is shownbelow. D Minor Bebop o Minor Bebop @ I llI I I ) R+ >oo o o( R 'OOOO( I I tlI r OOa a I I )oo I tl I I tl ( 8 The minor bebopscale is an eight-notescale and will take exactly four beatsto play if eighth notesare employed. Here is an example on how one can use this scalewhen improvising over a minor seventhchord. Dm7 A minor bebop scalewith any chord tone on a downbeatand playing eighth notes allows the player to start on any chordtone (scale degree 1,b3, 5 andb7) and move in any direction(ascending or descending)and continuously play chord tones on the strong beats. Practice these scales, starting on various chord tones (ascending and descending). ScalarPatterns John Coltraneused regular major and minor scalesand the bebopscales in his playing. He would createvarious scalarpatterns and work them into his playing so they could be executedeffortlessly. Below are someexamples of scalarpatterns Coltrane would use. 3to19 Three to flat nine is a technique that the bebop players developed and used extensively when playing over dominantseventh chords. It is a very characteristicbebop device. If we take a ii-V-I progressionin the key of C major the dominant V chord is G7. The third is a B and the flat nine is an A flat. There are a number of ways to get from the third to the flat nine. The first and most obvious way is by skip. Move from the third and ascendor descendto the flat nine. Look at the example below. G7 b9 bg 3 I I Another way to get from the third to the flat nine is by playing the chord tones3, 5, 7 and b9of the dominantchord (G7) or a diminished arpeggiostarting on the third. The direction of this arpeggiodoes not haveto start andcontinue in only one direction. In fact, it soundsgood when the direction changes.See examples below. G7 3 The flat nine is a note that createsa higher degreeof tension. It resolvesnaturally down a half step.Usually at the moment (or right before) the dominant V chord moves to the tonic I chord. The following lines demonstratehow to use this techniquewhen improvising over a ii-V-I progression.Notice that the resolution of the flat nine also can occur one or two beatsbefore the tonic I chord. OR It is important to practice thesetechniques in all twelve keys. With practice,this material will flow effortlessly when improvising. 1n AugmentedDominant Whenplaying over a ii-V-I progression,John Coltrane often played an augmented fifth (fifth scaledegree raised a half step)over the dominant chord. This increases the tension and the sharp fifth naturallyresolves down with a half stepto theninth degree of thetonic I chord.See the examples below. G+7 CMaj9 G+7 Here are somelines demonstratingthe useof the augmentedtriad in the style of John Coltrane. G+7 C G+7 G+7 G+7 11 Playingthe upper-structure of Ghords (SecondaryArpeggiosf Another techniqueused by bebop musiciansis arpeggiatingthe upper-structureof chords.The upper-structure of a chord is any notein the chordabove the seventh.For example,a CmajTchord consists of a root (Cj, major third (E),perfectfifth (G) andmajorseventh (B). Thesenoteare derivedfromtheC majorscale. Theupper-structurechord tones(also calledextensions) of the Cmaj7 chord arethe ninth (D), eleventh(F) andthe thirteenth(A). The way in which thesenotes relate to the major scaleis shownbelow. Scale .1371 Degree:L2345671 ' " (6) t?.t (tl Scale Degree: It is very common to start on the third of a chord and arpeggiateup to the ninth. An ex- ample of how this techniquecan be usedover a D minor seventhchord is shown at right. Notice the notesfrom this example are the samenotes contained in an Fmaj7 chord. The upper-structurechord will help createanother chord. This is why the term secondaryarpeggio is sometimesused to describethis technique. Dm7 G7 Shownat right arethe second- ary aryeggiosfor the basicchords in a ii-V-I progression. Targeting Another techniquewidely usedis called targeting.Targeting is to precedea chord tone by a half stepor a diatonic scale step from above or below. There are a number of ways to target a chord tone. The first is by ascendingor descendingchromatic approach.This techniqueis shown below. It is important to realize that while the examples shown below usethe chord tonesfrom a C major chord, this techniquemay be usedover any type of chord (minor, dominant, diminished etc.). Notice that the lines must be played rhythmically so the chord tonesare played on the down beats(strong beats). O = ChordTones O = APProachTones o ( o I VIII - Optional I Or Fingering oo I oo I YIII - Optional I EO Fingering ( IO aa o oo "enclosure." The next type of targeting is called An enclosure uses either scale tones above and below chromatic tones above and below to literally enclosethe target chord tone. a chromatic tone below' The frst type of enclosuremakes use of a scaletone above and c 12 o o ( )O )( ae - )o III )() #)l VIII Optional Fingering )o ( )olt )o( )rll )()o( &31o oo oo tone above' The next type of enclosureuses a scaletone below and a chromatic c 1 1-9-1 Three-noteenclosures can combine scaletones and chromatic tonesabove and below. A few examplesof how this would apply to the root of a C major chord are shown below. Use this concept with all the other chord tones. o a v () o By combining scale tones and chromatic tones to enclosure a chord tone, almost limitless possibilities of improvised lines may be constructed.Experiment with this conceptto createyour own original lines. The following line demonstrateshow one can use the techniqueof targeting. 15 Substitutions One exciting harmonic techniquethe bebopplayers startedexploring was the use of chord substitutions.When jazzimprovisers use chord substitutions,they play over different chords than the rhythm sectionis playing at that moment. A simplechord substitutionwhen playing over a ii-V-I in the key of C major (Dmin7-G7-Cmaj7)would be to play Bm7 (b5)over the G7 chord. As seenin the chapteron the upper-structureof chords,the Bm7 (b5)is the upper- strucrureof the G7 chord (3rd, 5th, 7th and the 9th). The Bm7 (b5) substitutionwill only contain diatonic tonesin relation to G7 and will not add harmonic tension. Bebop players startedsubstituting the dominant seventhchord (or both the minor ii and the dominant seventh chord) with chords containing less diatonic tones, thus increasingthe harmonic tension. A much-usedsubstitution that Coltrane often employed is the ivm7 - bVIIT substitution. Rhythm section plays Dm7 G7 CMajT ii V I tr Substitution ebz Fm7 bvtlz ^ ivmT be -s One can combine the original ii-V with a substitution.While the rhythm sectionplays the ii-minor chord for one measure,the dominant 7 chord for one measureand then the I chord, play one measureof ii - V and in the next measurethe ivm7 - bVUZ substitution and finally end on the I chord. Seethe example below. Rhythm sectionplays Dm7 With the tri-tone substitution,the V chord is substitutedwith a seventhchord a tri-tone away (if the dominant is a G7 the tri-tone substitutionis pbZ). In the earlier chapteron guide tones,we sawhow the tri-tone interval between the dominant's third degreeand the seventhdegree is a defining factor in the dominant chord's function of building tension and seekingrelease. The tri-tone substitution derives its name both becausethe chord is located a tri-tone away from the original dominant chord but alsofrom the fact that the original dominant chord and the new substitute 16 dominantchord share the sametwo notesin their build-in tri-toneinterval. If the dominantin a ii-V-I is a G7, the third is a B andthe seventhis an F. The tri-tonesubstitution chord for G7 is Db7.The third of Db7is an F andthe seventhis a B. Seethe examplebelow. Rhythm sectionplays Dm7 (bvotv) -; -cb=Bh One can always precede a dominant chord with its related ii-minor chord. In the next example the tri-tone substitutionis precededby its relatedii-minor chord. Rhythm section plays Dm7 G7 CMajT 'i6 Substitution DD7 Dm7 G7 abmT b?8 -* Here are someexamples of how to use thesesubstitutions when playing over a ii-V-I progression. Rhythm section plays Dm7 Substitutions emz(bs) Dm7 (cont.next page) Fm7 Fm7 It is importantto notethat the use of substitutions(of the dominantseventh chord or both the minor seventhand the dominant seventhchord) increases the dissonanceand tension of the moment and is only justified by the necessaryresolution which must occur on the I-chord of the ii-V-I progression. JohnColtrane adapted these ideasof chordsubstitutions intohis own playingand composing and would develop this "Coltrane conceptto a whole new level as can be seenin the chapteron Changes.,, JohnGoltrane's style To learn the language of jazz improvisation you must study the mastersthat camebefore you. John Coltranewas no different than anybody else. His playing in the mid 1950's was clearly derived from the bebop tradition. He employed all the different improvisational devices covered in this book so far. Once fluent in a language,musicians may begin to put their own personalstamp on it and an original voice develops.What gives a greatplayer a personalsound and style is a combinationof the notes(the vocabulary)played and just as importantly how they are played. John Coltrane was using various expressivedevices in his playing. Listen to his solos and pay close attention to how he articularesthe notes.Sometimes he would use a lot of tonguing (every note in a whole phrasesometimes) and'sometimeshe would play very legato (no tonguing). He would end phraseswith a short note tonguedor maybe with a longer note and a slight vibrato added.He would often usefast scaleruns up to a target note at the beginning of phrasesor bend up to a longer held note. Another important improvisational device employed by John Coltrane is rhythmic variation. His phrasesoften use a mixture of eighth notes,triplets and sixteenthnotes. Bebop scales,3-b9, the use of augmentingthe fifth of the dominant chord, playing the upper-structure,tri-tone and other substitutions,enclosures and targeting noteswere all devicesapparent in John Coltrane's vocabulary.He used various scalarpatterns combined with chord arpeggiosto outline the harmony played at the moment. These are all elementsof what we can call John Coltrane's unique sound. Summary By understandingand using the techniquespresented, any musician will find it easierto analyze,memorizeand executethe lines provided in this book as well as lines from any transcribedsolo. Thesetechniques will help the musiciansto assimilatethe jazzJbeboplanguage into their own playing. By working with the lines that follow, the player will acquire jazzvocabulary in the style of John Coltrane. Selecta few lines for eachharmonic situation and "inserting" masterthembyplayingtheminall twelvekeyswith theaccompanyingplay-along CD. By thefollowing lines in the style of John Coltrane into a solo and masteringthe techniquespresented in this book, eachplayer will eventually master the jazz languageand develop hisftrer own style and sound. EssentialJazz Lines For this section,the studentmust selecta line in the style of John Coltrane to master.Practice it in the given key with the accompanyingplay-along CD and then use the CD track that modulatesin fourths to masterthe line in all twelve keys. By combining minor chord lines with dominant seventhchord material, musicianswill be able to mix and match numerouscombinations of theselines to play over the ii-V-I progression.Because the major and minor ii-V-I progressionsare the most common chord progressionsinjazz, it is crucial that studentsof jazzimprovisation arefluent in soloingover theseprogressions in all twelve keys. MinorChord Material o Cm7 tEach example has been written @ Cm7 out in common (4/4) time. @ Cm7 @ Cm7 OLrtJ t I g @ Cm7 Cm7 d tJ' Ll t- Cm7 Qm7 \t o-o- t @ @ Cm7 Cm7 a tt v - - - - Q,-u -t- ov-1- t cre gE-tu J 9 0 O I J-n I 99 Cm7 d J t J ''- ' E' @ Cm7 a) ,t2 o-t 7-8 Cm7 Cm7 - d- dl bi t-o rt# 10 8--7-8-5^ 2l @ @ Cm7 Cm7 - .- t t - T J- J !i---E- 7-4-7-8-10- IJ tv gJg^ @ Cm7 __: .-lJ T I _--5-7---3- @ cm7 I t-t I I ) -[ '-r ,-Jt- @ cm7 4 21F---'-- a) '{ \t r @ @ Cm7 cm7 ---i--: -e - OJ o+ tJ ovvvv @ cm7 ol- ll- l-v- (r) 2? MinorChord Vamp &,. &. MinorMoving in Foufths nhnZ nbmz 24 DominantSeventh Chord (Vl Material oF7@F7 *Each examplehas been written out in common(4/4) time. @Fz F7 F7 dfiJ' d 'bJ J r;_o-o^- @Fz F7 - - - U a) 4 v-vg @Fz @F7 @F7 2a-o_tJ-'-Lr 9gv9 25 @FT @ F7 a eJ-l'-- -r-r g 7- g-c-o- @Fz +a- dJ 7-5--...:-5-8_ @Fz @F7 a) 4 \J -7-o-5 @ F7 @F7 __1 a) ,) @ @Fz F7 a) J @ F7 i,-\Jt_/ r= r{ avar ------:--o-.-,-o- DominantSeventh Vamp &u DominantSeventh Moving in Fourths 4x's F,bl 27 OneMeasure ii'V (Short .Each ii-VlMaterial examplehas beenwritten out in common(4/4) time. Ocm7F7@ Cm7 Fz t- P I -7 or'-re (Di ) Cm7 F7 Cm7 F7 tl ,- ---= 'E- 1U -___-- __s___s ------,---7-T-5_?_ _:_--_-- I -_+_8-__5__------=-:-----]-l- @ cm7 @ cm7 r-- --rtr--+-_+_ z,H t ts}is ---__Ei+ \rJ d Il [-J {\l ----ru_6=- ___.6_5_ ?_g_10_?_ iO 28 @ Cm7 F7 d- @ cm7 F7 a Ltl 3 I @ cm7 F7 @ cm7 F7 (F t+ o - - d,r ^qt a_ ^ o o o r-o @ cm7 29 @ cm7 F7 @ cm7 F7 a) e \l a) I @ Cm7 F7 t'- FFFFFFFF J1- @ @ cm7 F7 cm7 d 30 Short ii-VVamp &u &, Shortii-V Moving in Fourths , Fmt sbt ebmz cf,mz 31 TwoMeasure ii-V (Long ii-Vl Material *Each example has been written out in common (4/4) time. O cmz F7 a) @crz F7 tD d -,]-+l lt \t tt, @ .r, A \U Cm7 - - -8-11 10 (F7-8 1 @ crt F7 @ cm7 o W a-., - tu-trru ar. @ crz F7 --te u \t, @ crz F7 a) \J .JTJ 9t9 @ c,nz @ crz @ crz F7 o e te - - J ' :E 33 @ Cn7 F7 @ Cm7 F7 a) \l \t, a) t-J 3 F7 Cm7 rlT) :=FFf++-f--t-4 aJ r! r= @ cm7 @ "^, @ Cm7 F7 aJ L"l r= +i- 34 Longii-V Vamp Longii-V Moving in Fourths &, Cm7 eb*z MajorGhord (ll Materiat *Each examplehas beenwritten out in common(4/4) time. oab @eb O->/ I tttD I I tt | | I o>) - -frJ--t.. thJ . g @eb a T Lz _ 5-7 g---:-7 @Bb @ - -tt- rt ^ d Lr d\J - i, 9-r-o v 7--6-8-5 36 f-i\ | \.Y BD @eb d bl 1c ffi =+ a) >) 11 .= - --- -5-7-g ' 6rrr1110- F' EEEJ- a L2' r= 3 _8_7_8___3__7=-o- @Bb eb -l \.lr ^ | -I d J_ 1' '-J1 fh!- btJ' 1 a) ar-- t7l _^------=-- - E--- @eb @eb tlrllll----f---Ti----T-l I T-]-F=- a) r{ a c) \ I - -l -7---5-7-S -h_q_ - " 5 990 0 @eb @ Bb --vv - 'J-- d \J|-)[-] o r jbJ dt .-w------ Q^F-6 7- -o-E F 37 B' d - - ll-l 11 ,9V^ t^ @Bb @Bb dJ t-l 11 3 @Bb @Bb r-l L1 u te bt' ' a) ,-gtgt c-1----d_------=--.--7--5---=_ CT -J9J @Bb @Bb ,= - ?11 t{_t -5_7-6---n-- 38 MajorVamp &, nb 6bvui7 ornbo; MajorMoving in Foufths tl &,, 3D (BaMajTor Bb6; 39 Minorii-V Material *Each examplehas beenwritten out in common(4/4) time. o Dm7(b5) czogl @ omz6s) czIsy t ,'- d d Q-a 6 @ Dm7(b5) cz0s) omz(05) r^r re a) It r { :-----=---:-- @ omzbs) czpsy @ omzds) oz0gl a) >r a 3 11-10-7 _a_ 10 @ o,ztfs) @ cz0gl omzds) cztbg) a) a) o 10 'tno @ omz0s) G7(De) @ omz(05) cztbs1 40 @ o*z(bs) cz&gl omz(Ds) G7(te) a ^J @ @ orzbs) czbgl omz(Ds) cz(bg) a) @ orrbu) cztbgl o'nz0s) G7(te) a) - a) Ll @o rzds) ez&gl omz&s) cz&g) Fl - - Ll o- 1 dl,'-L1 ------:- -10 -___¤_10 ______9_ -10 @ @ orrbu) cz1bs1 omz(D5) , cz1bsy d.- df.t_l-v. (+) J --, o9qo 4l @ @ orrdu) cztbgl omzds) oz0g) a - 10 @, Dm7(b5) cz0gl omz(b5) ozdgl a) - -10 @ orzds) o mz(05) c70e) a L- 3 J Note:Forlong (two-measure)minorii-V progressions,either combinetwo shortii-V lines or expandthe material l for eachchord in the progression. 4), Minorii-V Vamp Dm705) Minorii-V Moving in Foufths &n omzds) G7 alt cmz0s) CTatt cmzOs)FTalt Fm7(05) BD] alt nil-zdsl ofrzurt o#'"z0slcilzutt cfl-z0sl cflzatr nfl-zdst BTalt Bm7@5y 4x,s E7 att Pmz0s) ATalt emz0s) D7att Use the following play alongrecordings to practicecombining material for major and minor ii-V-t progressions.Use the material provided in the minorchord section, dominant seventh chord section, short ii-V section,long ii-V sectionand major chord section. The possibilities for creatingnew lines are almost limitless. Shortii-V-l Vamp Cm7 F7 Bb MajT &,u Shortii-V-l Moving in Fourths Sr, cmz Fz abu4z Fm7 ebz ebu4t ebt nbuty EbmT nbt obu^it abmz Db7 Gh MajT cfim7 rlz BMajT Ff,m7 EMajT AMajT Em7 DMajT Am7 GMajT CMaj7 FMajT 44 Longii-V-l Vamp Longii-V-l Moving in Fourths Fz ebu4z ebu^it ebmz obu4z tbmt cfimz rfinz 45 Bm7 AMajT Em7 DMajT Am7 GMajT Dm7 CMajT Gm7 FMajT 46 Minorii-V-i Vamp & Dm7@5) GTatt Cm7 Minorii-V-i Moving in Fourths Dm7@5) GTalt Cm7 Gm705) CTalt cmz@s) FTalt BbmT pmz1bs) sbtatt EbmT nfimzdslofizart cflmz oflt"z0slc#tatt cflrnz c$mz0sl cflzart Pfimz cfl-zOsl r'f;zart Bm7 efimz0sl BTalt Em7 nmzds) E7 alt emz0s) A7 alt Dm7 Am7O5) D7 alt Gm7 47 Turnarounds The mostbasic turnaround in jazzconsistsof a minor ii-V leadingto a major ii-V. The major ii-V resolves to the tonic major chord. The turnaroundoccurs two measuresbefore the progressionresolves to the tonic chord. Becausemany tunes start with the tonic, the turnaround is commonlyfound in the lasttwo measuresof a tune. The I chords^L^-l^n--tlOm7b5, < ia^r- - tl...q G7alt, Cm7, and F7 makeup a tumaroundin the key of Bb. This progressionis shownbelow. By combininglines that work over a minor ii-V progressionwith major ii-V lines,one can easilyconstruct lines that work well over a turnaround. The examplesshown below illustratehow to combineminor andmaior ii-V linesto improviseover a turnaround. Dm7(b5) GTalt Cm7 Bz Dm7(b5) GTalt Cm7 Dm7(b5) GTalt Cm7 48 Practicecombining minor and major ii-V lines to solo over the following turnarounds. The following turnaroundsare recordedon the accompanyingCD. TurnaroundVamp Dm7(b5) GTalt Cm7 F7 TurnaroundMoving in Fourths &r. Dmz(bs)GTart Cm7 F7 Gm7(b5) CTalt Fm7 Bb7 cm7(bs) FTatt BbmT rmzlbs;ebzatt Ebmz ebmzlbsy ebt^u nbmz obt DfmTlbsycfzatt cfim7 r#z cflmzlbsycf/alt rfrmz cfmzlbs;rfizarr Bm7 rf mzlbsyBTatt Em7 Bm7(h5) ETalt Am7 D7 Emzlbs ) ATatr Dm7 Am7(b5) DTalt Gm7 c7 49 Greatingsolos The following etudedemonstrates how the lines and variations of the lines from the book can be usedto create an improvised solo. & FMajT emzfisynz0gl Dm7 G7 Cm7 F7 -t t- Major ffi l-Minor ii-V #L4-,-Short ii-V #14-l Short ii-V #13 BM amz@s1 oz&gl G7 Gm7 c7 ;I)ominant Seventh #21 1 f- Minor ii-V #2 ;"Dominant Seventh#12-t t- Short ii.V #10 -r FMajT emzb) ez0gl Dm7 G7 Cm7 F7 t- Major#7 r- Minor ii'V #17-1 Shortii-V#19 -r b BW nmzds) oz0g) Gm7 c7 ;Ilominant Seventh#11 l- Minor ii-V #11-t l- Short ii-V #1S -l 50 Cm7 F7 abu4z ;Two Measure ii-V Y231 ;.ScalarMateriall Ehr17 ebz obu4z Gm7 C7 p Two Measureii-V #15-r p Scalar Materiall FMaiT emzfsy A70e) Dm7 G7 Cm7 Fz Major #l -r Minor ii-v #6 _l 1- Short ii-V#8 -t t- Short ii.V #26 -l b Bh nmz$s1 oztbgl Gm7 c7 FMajT ;,I)ominant Seventh#201 Minor ii_v #3 _r Shortii_v #l b 51 Thefollowing progression is similarto thejazzstandard "pent up House.,,This progression will make ii-v progressions'using thematerial from use thisbook, practice improvising on thischord progression. & Progressionsimilar to pentUp House GoltraneChan ges/Giant Steps In this part of the book, "Giant "Countdown" John Coltrane's Steps" and progressionswill be examined. In 1959, John Coltrane was experimenting with various chord substitutionsand re-harmonizationsof chord progressions. This processled up to his famousalbum Giant,Steps(Atlantic SD-1311). The tune "Giant "Countdown" Steps" and other tunes like are all utilizing a symmetric chord progression consistingof V-I's moving in a cycle of major thirds. The chord progressiondivid-es the octaveinto threeequal parts and returns to its starting point upon completion of one cycle. It is also called a tri-tonic cycle (three tonic areas). In the key of C major, the first v-I moves to Ab major (tonicizes Ab major). Then the next V-I moves to E major (tonicizes E major, which is a major third down from Ab). Finally, the last V-I moves back to C major. "Coltrane This text will use the term changes"for this cycle. Major third down "Forffi.ffi" Major third down Major third down VTtoI \J VTtoI Y7 tol This cyclecan be viewedas a sophisticatedre-harmonization of a regularii-V-I progression(..Countdown,, was in fact written as a re-harmonization "Tune of the tune Up" which is basedon threeconsecutive ii-V-I progressions descendingin whole steps).See example below. ii-v7-I Dm7 G7 c trn l Countdown/ColtraneChanges/Su bstitutions Dm7(or C)* ED7 Ab 87 E G7 c A This progressionis not a collection ..outside,, of random chords thrown togetherto createan sound,but rather a symmetric and well-balancedprogression. This is why the progressiondoes not soundtoo dissonanteven though it moves through three tonic areasthat are very distant and do not sharemany common tones. John Coltrane wrote a number of tunes incorporating this cycle in different ways. Listen to the albums Giant 'sreps(Atlantic 13l l) and Coltrane'sSound(Atlantic r4rg).He alsoused the samecycle to reharmonize "Body "But sections of standardtunes like and soul" and Not For Me." * "Countdown" Important Note: In the progression, the frst chord is the ii-minor chord of the original ii-v-I progression(Dm7 insteadof c major)' when using Coltrane changes,the I chord and the relatedii-minor chord areinterchangeable (as shown in the example above)' For practice purposes,first use the ii chord as the starting chord (as in the following examplesand exercises).The material which uses the ii-minor chord as a starting point works perfectly over the I chord as well. 53 Practicingthe ColtraneGhanges Aneffective waytopracticeColtranechanges is toplay simplepatternsconsistingofdifferentscaledegrees (also referredto as digital patterns)at a slow tempo ttrougtr ttreColtrane cycle. Selectpatternsstarting on different scale degreesto gain variety in soloing. Practice on" putt"- through the cycle. once in command of the individual patterns,begin alternatingtwo patterns(use one patternfor every other chord) and later add three or more patterns. Below are some suggestedpatterns. Make up original patternsas well. Suggestedpatterns l _l *Each digital pattern may be permutatedto createnew digital patterns. Below are some patternsin the style of John Coltrane. Dm7 Dm7 54 "Countdown." The following chordprogressions are similar to the first four measuresof the tune which makes useof Coltranechanges. Use these play-along tracks to masterthe patterns presented above and to developoriginal patternmaterial. Experiment mixing up variouspatterns throughout the progressionto achievea lesspredictable sound. Longii-V-l with Coltrane Changes Vamp &.. obz GDMajT ebuaiz Longii-v-l with &,- coltranechanges Moving in Fourths obt BDMajT BMajT EMajT nbu";z AMajT FMajT DbM GDMajT cf,rz GMajT rilz nbuaiz FM47 BhvtajT FfMajz Efinaj7 oh{taj7 56 "Giant "Practicing To practice improvising on Steps,"use the conceptdescribed in Coltrane Changes."For the first eight measures,select one patternat a time and later, when control over the individual patternshas been gained, combinetwo or more patternsfor a varied sound.The lasteight measuresof the tune consistingof ii-V-I progressions is an excellent place to usematerial presentedearlier in this book in the sectioncontaining lines in the style of John Coltrane(use the shortii-V material). "Giant Use the following two progressionsto practicematerial for Steps." EightMeasure Giant Steps Vamp &- BME ebuait Am7 GM47 Bb7 ebrtr4z rIz B MajT cfrmz rfrz ProgressionSimilar to GiantSteps nuffibffi"",, Fm7 Ascending Major Third Interval ebu4t Am7 cfimz r#t \ BMajT Fm7 ebz ebu";z r#z 57 Superimposingthe ColtraneGhanges Another way the tri-tonic cycle can be used is as a substitution over a slow moving or static harmony (pedal points)' with rapidly shifting tonic areas,the cycle generatesharmonic motion that playing serveswell as a contrastwhen over one chord' Listen to John coltrane's recording "Summertime,, ..My of from the album Favoritc Things"(Atlantic-1361).Notice how he superimposesthe cycle in his first solo break. on the following two tunes,the cycle hasbeen superimposed at variousplaces. The frst tuneis a blues.Firs! there is a short solo recorded as an example. The piay-along track continues and the student should continue improvising' superimposingthe cycle at thi relevanipta"e. in the form. The cycle is usedas a substitutionfor lastfour measuresof theform. Noticethat the on everyother chorus, the rhythm section will play tt " ."ffillli:iXi the endof the form' The playershould continue superimposing t the cycie while the rhythmsection is ptayingthe regularchord changes, thus attaining familiarity with the I soundu, *ril asconfidence svrrlv inrrr improuiringrrrrPruvrsrrrB *itf;;ril; level of dissonance. I , i i ) Thenext solo' which is basedon the chord changes of "Impressions," is-".rvrsgw included asQ anqr examplee^.rtrPrs ofur superimposingsr' the cycle over static harmony. I I Use other similar play-along tracks to practice this concept. I Also use' if possible,a piano to sustaina bassnote while playing the cycle.This is a good way of getting to the different tonic ,.drone,, used areasplayed over the (sustainedbass note). once again'-uk: sureto play very simplelines when superimposingthe cycle.The cycle alreadygenerates a lot of tensionand if the soloiststarts to play "outside" on what is alreadyoutsiie, the cycle will begin effect and balance. to looseits 58 Bluesfor a Giant omzlbsle ztbg) e br.,ta;z ebua;z 59 Rhythm S. Ptays \ Cm7 SoloistPlays Dm7(Ds) -cr7 G7(De) A7 ebz F7 Line that starts _I DMaiT (Repeatfor , 3rd chorus F7 play-along) Bb7 60 SnapShots (Dm7 Dm7) 6l ' Jt I f-3---f Dm7) 62 Conclusion Our goal with this book is to give the player a practice model to incorporate vocabulary in the style of John Coltraneinto hislher playing. The lines presentedshould be usedas examples and the player shouldeventually create hisArerown original lines basedon the sameconcepts. We hope you have a good time with the material. This is just one way of acquiring the vocabulary of this wonderful music. The learningprocess for a jazzmusicianis a never-endingjourney and we alwayslook to the great playerswho camebefore us for inspiration. In this age,where we have accessto a wealth of information and many good books on jazz improvisation are available,the single most important learning device is still the sameas it was for ajazz musicianin the 1920's:Listen to the music.Listen,listen and listento the albumsof the greatsand make sure to go out and hear the jazz players of today when they are playing in your area. Keep thejoy of the music and the curiosity strong. -Corey and Kim. SelectedDiscography Miles Davis Cookin' Prestige 7094 Miles Davis Relaxin' Prestige 7129 Miles Davis Workin' Prestige 7166 Miles Davis Steamin' Prestige 7580 'Roun"d Miles Davis About Midnight Columbia 949 Miles Davis Milestones Columbia lr93 Miles Davis Kind of Blue Columbia 8163 Paul Chambers Whims Of Chambers Blue Note r534 Tadd Dameron Mating Call Prestige 7745 Johnny Griffin A Blowing Session Blue Note 1559 John Coltrane Lush Life Prestige 7581 John Coltrane Blue Train Blue Note 1577 John Coltrane The Believer Prestige 7292 John Coltrane Traneing In Prestige 7651 John Coltrane Train's Reign Prestige 7746 John Coltrane The Last Train Prestige 7378 John Coltrane Settin'ThePace Prestige 7213 John Coltrane Standard Coltrane Prestige 7243 John Coltrane Soultrane Prestige 7142 John Coltrane Black Pearls hestige 7316 TheloniousMonk Live at the Five Spot Discovery! Blue Note Dl10906 John Coltrane Coltrane Time United Artists 5638 JohnColtrane Stardust Prestige 7268 John Coltrane Bahia Prestige 7353 John Coltrane Giant Steps Atlantic l3l I John Coltrane Coltrane Jau Atlantic 1354 JohnColtrane Coltrane Plays The Blues Atlantic 1382 JohnColtrane My Favorite Things Atlantic r36r John Coltrane Coltrane's Sound Atlantic l4l9 JohnColtrane The H eavyweight Champion CompleteAtlantic Recordings,Box Rhino R271984 John Coltrane Africa/Brass Impulse 6 John Coltrane Live At The Village Vanguard Impulse 10 63 John Coltrane The Complete 196I Viltage VanguardRecordings, Box set Impulse LMPD4-232 John Coltrane Coltrane Impulse IMPD-215 John Coltrane Impressions Impulse 42 John Coltrane Dear Old Stockholm Impulse GRD-120 John Coltrane Ballads Impulse John Coltrane 32 John Coltrane &Johnny Hartman Impulse GRD-157 John Coltrane Duke Ellington &John Coltrane Impulse 30 John Coltrane Coltrane Live At Birdland Impulse 50 John Coltrane Crescent Impulse John IMPD-2OO Coltrane A Love Supreme Impulse John 77 Coltrane Living Space Impulse John IMPD-245 Coltrane Ascension Impulse John 95 Coltrane Live at the Village VanguardAgain Impulse John 9124 Coltrane Transition Impulse John 9195 Coltrane OM Impulse John Coltrane 9r40 Meditations Impulse 9l l0 John Coltrane Expressions Impulse 9120 JohnColtrane Interstellar Space lmpulse 9277 Aboutthe Authors Kim Bock' a native of Denmark, had alreadyhad an extensiveperformance career in Europe before he moved to America in I 994' He hasperformed and toured in the united states,Europe, Turkey, SouthAfrica andnow in New York. resides In March 2001 Kim started playing as the featured tenor saxophonist with the legendary trumpet player- extraordinaireMaynard Ferguson and His Big Bop Nouveau Band, touring extensively in the US. He has been leading his own small group for years and can be york heard around the New area when he is not on the road. Past performance and recording credentials includes: Greenwich Blue, Dan McMillion Big Band, George carroll' Bombed out cat, sanlikol Group, Larry camp, The Mars All-star Big Band, Kenny Peterson soderblom/Jack Big Band, Bill Evansorchestra, Atlantic wavi Band. Kim received his Bachelor degree from Berklee college of Music in 1996 and a Masters degree in jazz performancefrom University of South Florida in 199g. corey christiansen beganplaying the guitar at the age of five. He studied with his father, (a Mike christiansen, seasonedperformer, writer, and educatorat utah State university) until he finished his bachelor,sdegree. while at utah Stateuniversity, Corey receivedmany honors and awardsincluding the outstanding Music student Award and outstanding Guitarist Award. The Lionel Hampton Jazz Festival named corey its outstanding Guitarist Big Band in 1995and oursrandingSolo Guitaristin 1995and 1996. seeking a masterof music degreein jazzperformance, Corey sought out renowned jazzguitar educator,Jack Petersenand began studies as a graduateteaching assistant at the university of south Florida. He received his master'sdegree in jazz performancein the spring of l999.Jack petersen retired that sameyear and Corey was hired to take his place as an adjunct guitar instructor. while teaching at the University of south Florida, with jazz corey worked the guitn studentsand directed many studentjazz combos. corey is currentlyemployed by Mel Bay Publications, Inc. as their guitar editor.corey,s musicalbackground coversmany stylesof music includingjazz, blues,classical, bluegrass,iolk, rock andpopular music allowing him to perform in a number of different settings.As the guitar publications, editor at Mel Bay Inc. corey is available do clinics on variousguitar-related to subjectsat schoolsand music storesaround the countrv. 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