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14 compositions listed
|This is two repetitions of the chord cycle Dbmi(MA7)-CMA7(#11) which caught my ear this evening.
|Giant Steps, fragment 1
|Giant Steps begins with a single B triad, which is played in the key of B. The tune in its last bar ends with C#mi7 F#7, the ii-V sequence in the key of B which leads directly to this chord.
|Giant Steps, fragment 10
|In bar 14 and 15 we visit the key of Eb again through its ii-V-I progression: Fmi7-Bb7-Eb.
Since we started in Eb with the longer rhythm back in bar 8, visited G in bar 10, and B in bar 12, we've come back to Eb which gives us a sense of resolution, a feeling that we've completed the pattern that we started.
|Giant Steps, fragment 11
|Bar 16 is a turnaround, C#mi7-F#7, which gets us ready to run the Giant Steps sequence all over again. This takes us into the key of B for a bar and a half when we continue back to the B chord which begins the piece.
|Giant Steps, fragment 2
|Change of key in the middle of bar 1 to the key of G, accomplished by this two chord sequence D7-G.
|Giant Steps, fragment 3
|Change of key in the middle of bar 2 to the key of Eb, accomplished by this two chord sequence Bb7-E. The E is prolonged for the entire third bar.
In the first three bars of the tune, we have visited the keys of B, G and Eb. We have now visited all three of the key centers that will be used in the entire piece.
|Giant Steps, fragment 4
|In bar 4 through the first half of bar 5, we enter the key of G through the sequence Ami7-D7-G, the ii-V-I of the key of G.
|Giant Steps, fragment 5
|We spend the last half of bar 5 and the first half of 6 in the key of Eb via the sequence Bb7-Eb.
|Giant Steps, fragment 6
|We spend the last half of bar 6 and all of 7 in the key of B via the sequence F#7-B. In bar 8, Coltrane will start moving through the keys B, G and Eb using a different rhythm.
In bars 1 through 7, by changing keys in the middle of bars and prolonging a chord for an entire bar he stitches the different key visitations into longer key sequences that we hear as a unit. We hear the B-D7-G-Bb7-Eb in bars one through 3 as one unit because the Eb held for bar 3 sounds like a resting place. We hear the Ami7-D7-G-Bb7-Eb-F#7-B of bars 4 through 7 as the second unit since the B held across bar 7 sounds like a resting place.
In the last half of the tune, bars 8 through 16 wrapping around into bar 1, he visits our key centers for two bars each time letting us hear each of them separately.
So this is kind of a "twice-cooked pork" tune, with the same materials cooked up two different ways.
|Giant Steps, fragment 7
|In bar 8 and 9 we visit the key of Eb, through its ii-V-I progression: Fmi7-Bb7-Eb.
|Giant Steps, fragment 8
|In bar 10 and 11 we visit the key of G, through its ii-V-I progression: Ami7-D7-G.
|Giant Steps, fragment 9
|In bar 12 and 13 we visit the key of B, through its ii-V-I progression: C#mi7-F#7-B.
|Unaccompanied melody fragment 12-17-05
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