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	Coltrane Changes - taught by Corey Christiansen \| Mel Bay Publications, Inc.
		Coltrane Changes - taught by Corey Christiansen
		John Coltrane's recording "Giant Steps" introduced a system of chord progressions and chord substitutions that has challenged even the best jazz musicians.
		The tri-tonic systems (sometimes referred to as "Coltrane Changes") found in the tunes Giant Steps and Countdown is taught in a digestible way thoughout this method.
	www.melbay.com /product-print.asp?productid=20407BCD (93 words)

	Coltrane changes - Wikipedia, the free encyclopedia
		Coltrane changes (or Coltrane matrix) are a substitute harmonic progression popularized by jazz musician John Coltrane on his 1960 album Giant Steps, specifically in his compositions "Giant Steps" and "Countdown", the latter which is a reharmonized version of Miles Davis's "Tune Up."
		The changes serve as a pattern of chord substitutions for the ii-V-I progression (supertonic-dominant-tonic) and are noted for the tonally unusual root movement by major thirds (as opposed to the usual minor or major seconds, thus the "giant steps").
		Coltrane studied harmony at the Granoff School of Music in Philadelphia, exploring contemporary techniques and theory.
	en.wikipedia.org /wiki/Coltrane_changes (474 words)

	[No title] (Site not responding. Last check: )
		Coltrane was fired, however, from the Davis quintet in the winter of 1956 as a result of his excessive drug and alcohol use--habits which often affected his playing.
		Coltrane believed that by bettering himself and rededicating himself to God, his music would also benefit, for it was the sinful, secular activities and lifestyle that caused his music to suffer and him to be fired from one of the best bands of the day.
		Coltrane's usage of the "konkolo," his ability to fill up all of the musical space ("sheets of sound"), his development of the speech-to-sound continuum, and his idea that music and religion were inseparable all demonstrate the fact that he strove to disengage from traditional Western musical methods.
	www-mcnair.berkeley.edu /95journal/EmmetPrice.html (2450 words)

	Sheets of sound - Wikipedia, the free encyclopedia
		Coltrane employed improvisational yet patterned harmonic techniques where densely packed solos consisting of high speed arpeggios and scale patterns were played in rapid succession: hundreds of notes running from the lowest to highest registers.
		Coltrane also attributes the development of long solos to the influence of Monk.
		According to Coltrane, the freedom of Miles Davis' music allowed him to apply his harmonic ideas to stacked chords and substitutions.
	en.wikipedia.org /wiki/Sheets_of_sound (236 words)

	ISAM Newsletter: Meditations on Coltrane's Legacies
		Coltrane is seen as an unusually fecund, almost continually evolving artist, whose impact on the language and practice of jazz was as paradigmatic as that of Louis Armstrong or Charles Parker.
		Coltrane and his disciples were accused of being “anti-jazz” by certain quarters of the critical establishment in the 1960s, and even held responsible for dwindling jazz audiences in the decades since.
		Coltrane’s music from 1957 onward is understood a sacred text and figures prominently in the church’s liturgy.
	depthome.brooklyn.cuny.edu /isam/2002/wash1.html (2730 words)

	Jazz Fiddle Wizard: FAQ page
		I am interested in learning about "Coltrane Changes".
		You will find in reality that many tunes (like the B-section in Miles' Seven Steps To Heaven) will use these keys for such a short duration that if you have to switch position it will break your line.
		I would probably study easier substitutions (like tritone substitutions) first but here is how to start Coltrane changes:
	www.jazzfiddlewizard.com /Faq.htm (981 words)

	John Coltrane -- History of Jazz (Site not responding. Last check: )
		Coltrane was born in North Carolina, but moved to Philadelphia, where he spent most of his youth.
		Coltrane's genius is in being able to follow the form, creating an improvised line that matches the difficult chord progression.
		For Coltrane, the modal approach offered a way to build a solo: relying on a single scale kept the soloist from having to keep track of choruses, but it also allowed him to concentrate his energy on racheting up the intensity.
	www.people.virginia.edu /~skd9r/MUSI212_new/assignments/Coltrane.htm (1038 words)

	John Coltrane: The Olatunji Concert: The Last Live Recording - PopMatters Music Review
		By the time of his death in 1967, Coltrane was loved and admired by many for his spirituality, his great facility as a saxophonist, his harmonic and stylistic innovations, his vision as a bandleader, and his relentless musical evolution.
		Coltrane delved deeper into musical abstraction with their replacements Alice Coltrane (piano) and especially Rashied Ali (drums), whose concept of time was as expansive as Jones' was propulsive.
		In Coltrane's case, considering his music's record of change and growth, it is a safe bet that it was going to change drastically again.
	www.popmatters.com /music/reviews/c/coltranejohn-olatunji.shtml (1268 words)

	Room 34 Multimedia \| John Coltrane \| Thesis
		Coltrane and Tyner each take extended solos, as will become their standard practice in later performances of this work, and each extends the harmonic structure not through altered chords, but rather through extensions revealed as part of the practice of modal improvisation.
		Coltrane also reflects the influence of Indian music in his use of E and B — tonic and dominant —; as pedal points, creating a tonic-dominant drone effect similar to that used in Indian classical music as background support for the melodic movement of the solo instrument (Reck 231).
		Coltrane's emphasis of Sanders' spiritual character as cause for his membership in the quintet is significant, reflecting upon Sanders' compatibility with his musical directions as well as Coltrane's own personal motivations in his music.
	room34.com /coltrane/thesis.php (7311 words)

	Marc Sabatella's Jazz Improvisation Primer: Playing Changes
		The important characteristics of rhythm changes are the repeated I-VI-ii-V (or substitutes) in the first four bars of the A sections, and the basic tonality movements by fifths in the bridge, leading back to the original tonic in the last A section.
		The primary characteristic of Coltrane changes is tonality movement by major thirds.
		Coltrane starts with the same ii chord, and then modulates to the dominant seventh chord one half step higher.
	www.outsideshore.com /primer/primer/ms-primer-5-2.html (2564 words)

	Jazz-Sax.Com \| John Coltrane's Life (Site not responding. Last check: )
		Coltrane grew up in High Point, North Carolina and spent most of his childhood in the house of his maternal grandfather, Rev. William Blair, who gave him his middle name.
		Modern jazz musicians use "Coltrane Change" as a systematic way to construct tensions in their solos.
		The answer of how to superimpose "Coltrane Change" to play against standard ii-V-I chord progression can be found by studying Coltrane's another composition Countdown (Example 5) in which he reharmonized an earlier jazz standard Tune Up.
	www.jazz-sax.com /article.pl?sid=01/12/04/2119233 (1191 words)

	[No title]
		So the key also changes in major thirds: B to G to Eb to G to Eb to B to Eb to G to B to Eb and turnaround back to B. You should read the chapter on "Coltrane Changes" in Mark Levine's "Jazz Theory Book".
		What Coltrane did in fact was to write tunes that were based on reharmonizations of other tunes using this technique.
		Part of the innovation that Coltrane created in GS is the harmonic structure based on a cylcle of thirds.
	www.justjazz.com /ed/conf.txt (1332 words)

	Coltrane, Robbie - Hutchinson encyclopedia article about Coltrane, Robbie (Site not responding. Last check: )
		Coltrane has also appeared in a number of films and from 2001 starred in the Harry Potter film series.
		Coltrane's films include Mona Lisa (1986), Nuns on the Run (1990), and the James Bond films Goldeneye (1995) and The World is Not Enough (1999).
		This information should not be considered complete, up to date, and is not intended to be used in place of a visit, consultation, or advice of a legal, medical, or any other professional.
	encyclopedia.farlex.com /Coltrane,+Robbie (184 words)

	John Coltrane - Giant Steps: Reviews, Track Listing, Audio Clips, and more \|\|\| Music.com
		Coltrane (tenor sax) is flanked by essentially two different trios.
		Just a couple of years before John Coltrane's style launched into the abyss of avant garde he, in the same year, was featured on and lead 2 of the most pivotal jazz albums of all time.
		They were solid on the changes and the tempo, but they never came anywhere near the style pace that Coltrane was setting.
	www.music.com /release/giant_steps/2 (1110 words)

	Coltrane changes: Facts and details from Encyclopedia Topic (Site not responding. Last check: )
		John coltrane (september 23, 1926 - july 17, 1967) was an american jazz saxophonist....
		The changes serve as a pattern of chord substitution chord substitution quick summary:
		(Coltrane found it "easy it to apply the harmonic ideas I had...I started experimenting because I was striving for more individual development." He also played with pianist Thelonius Monk[Follow this hyperlink for a summary of this subject] during this period, EHandler: no quick summary.
	www.absoluteastronomy.com /encyclopedia/c/co/coltrane_changes.htm (1083 words)

	[No title]
		Coltrane was introducing elements of post-Coleman tonality into a musical world that, for all its emotional intensity, was ruled by strict and very different rules. The radical nature of Coltrane's music tended to elicit extreme responses.
		Coltrane acknowledged the influence of Indian music on his work, but it was the spirit of the music that he emphasised: I like Ravi Shankar very much.
		After sixteen bars Coltrane comes in with the melody: C G F The first two phrases use cell a starting on C and then F. Cell a and cell b are combined in the third phrase, creating the first run of three whole tones in the piece.
	www.dw.com.au /users/tvincent/John.doc (8921 words)

	John Coltrane : Giant Steps
		Coltrane then took yet another major leap forward with a concert album, Live at the Village Vanguard, which extended some of the Africa/Brass material but most notably featured "Chasin' the Trane," which consisted entirely of Trane improvising over bass and drums (no piano) with a white-hot intensity few had ever heard before.
		Coltrane took major risks in exploring new and challenging realms, proving that a jazz musician could be popular (he was one of the biggest attractions in jazz) without being "pop." He did a few tracks which could be seen as concessions to his audience.
		This quintet was the group Coltrane used for most of 1966 and until his death in 1967, and it has been consistently underrated by jazz historians unsympathetic to the territory where Trane's continuing quest for new sounds had taken him.
	ooz.tripod.com /cd/htm/m-joh_gia.htm (3286 words)

	JOHN COLTRANE PLAYS COLTRANE CHANGES
		In the late 1950s, John Coltrane composed or arranged a series of tunes that used chord progressions based on a series of key center movements by thirds, rather than the usual fourths and fifths of standard progressions.
		This sound is so aurally identifiable and has received so much attention from jazz musicians that it has become known as Coltrane's Changes.
		This book presents an exploration of his changes by studying 13 of his arrangements, each containing Coltrane's unique harmonic formula.
	www.playjazz.com /AL102.html (91 words)

	Improvisation: Harmonic Considerations: Chord Substitutions: Coltrane Changes
		The chord progression shown above was used by John Coltrane to harmonize a series of original compositions and arrangements of standards.
		It has therefore come to be known as the "Coltrane Changes", or sometimes "Giant Steps Changes", since that is the most well-known of the compositions that feature this progression.
		The primary characteristic of the Coltrane changes is that the tonal centers modulate by major thirds:
	www.outsideshore.com /school/music/almanac/html/Improvisation/Harmonic_Considerations/Chord_Substitutions/Coltrane_Changes.htm (254 words)

	coltrane bootlegs from early 60's - Jazz Bulletin Board
		What I really want to hear is Trane opening up and stretching out more on his "coltrane changes" tunes like I know he started doing with those modal tunes at the beggining of the 60's.
		I hear a real growth from "Giant Steps" to "Coltrane's Sound" on which he plays much more freely on those types of tunes (Sattelite, 26-2) to my ears.
		I don't know about the changes, but seeing him play in the late 50's and I think into the early 60's, there were things he was doing differently than when he was playing with Miles.
	forums.allaboutjazz.com /showthread.php?t=5999 (526 words)

	Guitar Player - Conquering Giant Steps
		From the day John Coltrane first recorded it in 1959, the song’s tricky progression has been the musical hurdle that has sent even veteran players falling flat on their faces.
		Then, with Flanagan (who achieved full redemption in the ’80s by re-recording “Giant Steps” and dancing through the changes with perfect grace and aplomb) and ’Trane as your pillars of inspiration, you’ll realize that the real key to unlocking “Giant Steps” isn’t a secret code or some set of alien scales.
		Coltrane’s revolutionary harmonic approach can only be mastered through one thing: good ol’ fashioned practice.
	www.guitarplayer.com /story.asp?sectioncode=7&storycode=10496 (1636 words)

	NICK DRAKE: Jazzin with Nick 2
		By this time Young was in New York and he resumed his career as an improviser and took up the soprano sax adapting the Coltrane innovations to his own line of development using perfect intonation and drones.
		Plagal cadences and IV-I changes are typical of blues and rock.
		This is rather too neat and Nick ironically comments on those changes by bending a note up from the leading note to the tonic - one can construct this very much as a musical joke - possibly at the expense of Mozart.
	www.algonet.se /~iguana/DRAKE/jazzin2.html (2437 words)

	Jazz Guitar Books CDs and Videos Discount Store Page Four
		The comps are written out in notation and tablature and include rhythms with forward motion, chords built in fourth intervals, parallel constant structure voicings, polychords, slash chords, etc. The focus is on developing a contemporary approach to rhythm, phrasing, chord voicings, voiceleading, chord substitution, and reharmonization.
		The Changes: Guide Tones for Jazz Chords, Lines, and Comping is offered for beginning to advanced players as a way to visualize guide tones on the fretboard.
		Most importantly, the changes of the progression being played can be heard with only a few notes.
	sologuitarist.net /jazz_guitar_page4.html (1353 words)

	iBreatheMusic Forums - Cycles in General & Coltrane Changes
		I think this article by Dan Adler is well-suited to folks who are a bit newer to music theory because it explains a lot of relationships that most 'cycle of fifths' discussions do not.
		Anyway the coltrane changes are kind of like the Cycle of fifths made with 7th chords, to get ii V i happening.
		It seems instead of resolving to the i of the key, he changes keys, to the ii chord, a major third away.
	www.ibreathemusic.com /forums/showthread.php?t=2607 (1340 words)

	Jazz Improv Magazine
		Priority, one of the seven compositions by Davis on this CD, incorporates elements of the harmonies found in Coltrane’s “Giant Steps” (“Coltrane chord changes”), as it shifts between straight ahead medium swing and a two four measure phrases over a Latin groove on the bridge.
		This is a more laid back swing groove, with interesting rhythmic breaks, syncopated hits, and changes in dynamics on the minor bluesy kind of melody—that are magnificently, cleanly expressed by the rhythm section and Davis, who is on flugelhorn here.
		The melody is a challenging eighth note line, offset by the simplicity of the chord changes.
	www.jazzimprov.com /util/cd_reviews.cfm?review_id=4 (545 words)

	Essential Jazz Lines in the Style of John Coltrane,
		Saxophonist John Coltrane was one of the most innovative, creative, and influential jazz artists of the 20th Century.
		This book will focus on the first period of Coltrane's career, when he was with Miles Davis, and the jazz vocabulary he used.
		Then the text presents numerous one-, two-, and three-measure jazz lines in Coltrane's style in notation and tablature grouped by the harmony over which they can be used.
	www.guitarplace.com /JA157.html (237 words)

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