Description of Tutorial Example's tunes
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All compositions, ©1996-2008, Tutorial Example. All rights reserved
14 compositions listed
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| Dbmi(MA7)-CMA7(#11) |
| This is two repetitions of the chord cycle Dbmi(MA7)-CMA7(#11) which caught my ear this evening. |
| G7-C7-F7-BbMA7alaLoverMan |
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| 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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Copyright © 1996-2008 Tutorial Example. All rights reserved.
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