Reharmonization of Rhythm Changes using Coltrane substitution

[maxtons]

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

[Hep To The Jive]

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|

[P4guitar]

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?

[maxtons]

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|

I agree with you to a certain extent, I don't think I would use this kind of thing much in my soloing, it was just a fun little thing I messed around with.

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?

The movement is Bb > D > F# and back to Bb.

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.

[christianm77]

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|

You don't do that with all dominants? That's the way I've seen that sub written (not that you have to do it that way of course)

[christianm77]

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.

[kris]

[maxtons]

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.

I was thinking of this, but since the 4th bar is usually Cm7 F7, I tried to find something different.

[Hep To The Jive]

You don't do that with all dominants? That's the way I've seen that sub written (not that you have to do it that way of course)

Ill try, and report back.

[JakeAcci]

Good stuff. I did this for ATTYA a while back.

[maxtons]

Good stuff. I did this for ATTYA a while back.

Great idea, I'll have to try that! I'd love to see how you did your reharm,too, if you're willing to post it.

[JakeAcci]

Great idea, I'll have to try that! I'd love to see how you did your reharm,too, if you're willing to post it.

surely! didn't do the whole tune, but here's a sheet and a recording. I mixed the coltrane cycles with other harmonic moves.
VIDEO
EDIT: bar 3 is Eb7 not Ebmaj7, thanks christian

[christianm77]

surely! didn't do the whole tune, but here's a sheet and a recording. I mixed the coltrane cycles with other harmonic moves.


Instagram

Sounds cool!

[JakeAcci]

Sounds cool!

Hey Thanks Christian! See, sometimes I do more than talk about pick angles and make scale spreadsheets!

[christianm77]

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....

[christianm77]

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?

[JakeAcci]

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....

well not just bass line really, same concept of giant steps changes through a few sections of it, the alternating maj7 and dominant thing

and it was definitely intended as a reharm on the ATTYA melody for sure.

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?

Ebmaj7 in bar 12? Melody note is D natural

[christianm77]

well not just bass line really, same concept of giant steps changes through a few sections of it, the alternating maj7 and dominant thing

and it was definitely intended as a reharm on the ATTYA melody for sure.




Ebmaj7 in bar 12? Melody note is D natural

I mean in bar 3 - Cmaj7 / Ebmaj7 / melody is a pedal G

[JakeAcci]

I mean in bar 3 - Cmaj7 / Ebmaj7 / melody is a pedal G

Ah! Typo. supposed to be dominant.