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TL;DR/progression at bottom of page
Hey everyone, I've been messing around a bit and decided to try to reharmonize the first four bars of rhythm changes (I-vi-ii-V) using Coltrane (Giant Steps) substitution. First I established that my central key was Bb and I would modulate to D and then D# - a standard Giant Steps progression. In order to make the chords lined up in a way that made sense (so they could end with a ii-V back to Bb), I started with a V of the V of D - E7 to A7 - and got this progression (assume each chord is two beats [I included the 5th bar for reference as to where you would end up]):
Bbmaj E7 | A7 Dmaj | C#7 F#maj | Cmin7 F7 | Fmin7 Bb7
However, I noticed immediately that this was awkward because the I chords started on the 2nd beat of each measure, which made it tricky to navigate when soloing. I tweaked the progression to skip the E7 and instead go immediately to the A7:
Bbmaj A7 | Dmaj C#7 | F#maj Gmin7 | Cmin7 F7 | Fmin7 Bb7
Already it was sounding better, but I figured it might be hipper to do a tritone sub on the last ii-V leading to the 5th bar, and I got this:
Bbmaj A7 | Dmaj C#7 | F#maj Gmin7 | F#min7 B7 | Fmin7 Bb7
And for the fun of it, why not play the dominant tritone sub of the tonic in the beginning for extra flavor?
E7#11 A7 | Dmaj C#7 | F#maj Gmin7 | F#min7 B7 | Fmin7 Bb7
That's just one variation, I know there are many more out there and I will devote more time to this to see what I can come up with. Feel free to post your own ideas or videos of you soloing using this progression.
TL;DR
Bbmaj A7 | Dmaj C#7 | F#maj Gmin7 | F#min7 B7 | Fmin7 Bb7
or
E7#11 A7 | Dmaj C#7 | F#maj Gmin7 | F#min7 B7 | Fmin7 Bb7
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11-20-2017 10:31 PM
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Hmm, nice, but don't really make much musical sense to me as far as feeling the RC progression. I'd call it over intellectualize, but then I'm not a Coltrane's 'Giant Steps' biggest fan either. I'm sure someone else will dig it more.
I can offer my fav re-harm, which i think I stole from somebody here at some point.
F#m7 B7| Em7 A7| Dm7 G7| Cm7 F7|
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Not to be contrary but I don't see any similarity between the OP's changes and Coltrane's key center movement in major 3rds.
What am I missing?
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Originally Posted by Hep To The Jive
Not to be contrary but I don't see any similarity between the OP's changes and Coltrane's key center movement in major 3rds.
What am I missing?
In the second set of changes (starting on E7), the progression doesn't start on the tonic (Bb), the E7 substitution was just a suggestion for a possible way to solo over that first chord, but it is not indicative of Coltrane changes, so sorry if that caused any confusion.
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Originally Posted by Hep To The Jive
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Basic Coltrane cycle as used in Countdown etc:
Bb C#7 | F# A7 | D F7 | Bb
Goes that way round?
Obviously the other way is also a Coltrane cycle, but that form seems more common IIRC.
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Originally Posted by christianm77
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Originally Posted by christianm77
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Good stuff. I did this for ATTYA a while back.
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Originally Posted by JakeAcci
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Originally Posted by maxtons
VIDEO
EDIT: bar 3 is Eb7 not Ebmaj7, thanks christian
Last edited by JakeAcci; 11-22-2017 at 03:05 PM.
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Originally Posted by JakeAcci
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Originally Posted by christianm77
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You are using a bassline in the Coltrane Cycle here and allowing the melody to dictate the chord qualities as far as I can see... Coltrane himself might actually have changed the melody to fit the changes....
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Actually, I say that, but there's no reason why the Ebmaj7 shouldn't be Eb7 - was that a choice based on liking the way it sounded?
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Originally Posted by christianm77
and it was definitely intended as a reharm on the ATTYA melody for sure.
Originally Posted by christianm77
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Originally Posted by JakeAcci
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Originally Posted by christianm77
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