Giant Steps - Analysis of the composition by John Coltrane
MavrikPA
The following note-for-note, measure-by-measure analysis of Giant Steps is
posted for those interested in gaining a deeper understanding of the landmark
composition by John Coltrane. This analysis, along with others, appears in
Jazz Improv Magazine (Winter 1998 Edition) which features songs and
transcribed solos of John Coltrane along with book excerpts and information
about his life. For further information, please feel free to contact me or
visit the Jazz Improv Website (www.jazzimprov.com).
Eric Nemeyer
Publisher
Jazz Improv
491 Old York Road
Jenkintown, PA 19046
e-mail:espr...@netreach.net
Giant Steps,
Analysis of the John Coltrane Composition Giant Steps
Composer: John Coltrane
Form: A-B (8-8)
Song = 16 measures
The melody and chords in the first four measures create the immediately
identifiable harmonic
and melodic structure of this song. In the second four measures, the first
four-measure phrase is sequenced,
a Major 3rd interval lower than the original phrase. That is, the melody and
chords, and the relationships
between them, within the phrase, are the same, but transposed down a Major
3rd.
Style: Composed in the late 1950s and recorded in 1959, Giant Steps is from
the hard-bop period. The rhythmically simple melody, (simple in the sense that
it is composed primarily of half notes and quarter notes in 4/4 time) is
supported by a uniquely identifiable series of chord changes. The song marked
an
innovative harmonic approach, identified with John Coltrane.
Tempo: Fast swing. On the original recordings Coltrane performs at a tempo
where the quarter note = 260 (that is 260 quarter note beats per minute).
Giant Steps has been recorded and performed by many musicians, at different
tempos, and employing different grooves (bossa, samba, ballad...)
Time Signature: 4/4
(Giant Steps is discussed here in reference to the concert key of Eb Major, as
opposed to F Major, which is the transposed key for written tenor sax parts.)
Key (Concert): Eb Major. The key of a song is often determined by the chord on
which the song ends.
Eliminating the chords of C# minor 7th to F# 7th, which represent a one-
measure turnaround, in the final
measure of the 16-measure song form, the Eb Major 7th in measure 15 becomes
the final chord, and the
tonal center (key). Although the Eb Major 7th chord is not played on the first
measure of the song form, the
first two measures of the song lead to the Eb Major 7th in measure three.
Tessitura (Range of the melody): A span of an octave and a perfect fifth, from
the Eb (in measure 6 of
the song) on the bottom line of the treble clef staff, up to the Bb above the
second ledger line above the
treble clef staff (as played in measure 15).
Solo range: In the transcription of John Coltrane s improvised solo, on the
alternate take of Giant Steps,
Coltrane uses a span of two octaves and a perfect fourth (from Bb below the
first ledger line, below the treble
clef staff, up to the Eb on the third line above the treble clef staff)
Instrumentation: The original recording by John Coltrane features a quartet
with John Coltrane on
tenor sax, Cedar Walton on piano; Paul Chambers, bass; Lex Humphries, drums.
Melody: The rhythmically simple melody is easily playable and within the
range of many instruments. Its
simplicity belies the harmonic challenge soloists encounter as they begin
improvising over the constantly
changing chords, which move through several tonalities.
Motivic Ideas and Sequences:
(Motive #1): The melody and chord changes in measures 1 thru 4 are sequenced a
major 3rd lower, in
measure 5 thru 8. This means that all of the following: the rhythms, the
intervals between the melody notes,
the direction of the melody, the qualities of the chord changes (whether the
chord is major, minor dominant,
etc.), and the relationships between the chords in the given passage - are all
the same, but begin on a
different scale degree. In this case, the scale degree to which we are
referring is a Major 3rd lower than the
original phrase.
(Motive #2): Measures 9 and 10, the first two measures in the second half of
Giant Steps include a melodic
motive, played over the chord changes, Eb Major (measure 9) and Aminor - D7
(measure 10). This
two-measure phrase is sequenced twice. Each time it is sequenced up an
interval of a major 3rd. In
measures 11 and 12, it is sequenced on the chord changes G Major and C# minor
to F#7. In measures 13
and 14, it is sequenced on the chord changes B Major and F minor to Bb7.
Rhythm: Melody: Mostly half notes, quarter notes played on the beat.
Improvised Solo: Mostly running
eighth notes, some syncopated phrases, and a 16th note and 32nd note
flourishes.
Number of Solo Choruses: 10 (16-measure) solo choruses played by Coltrane.
Solo: Coltrane s solo is constructed using mostly scales, chord arpeggios,
and patterns that work within
and strongly identify the pre-determined set of chord changes. In other words,
Coltrane uses this an
opportunity to develop the harmonic elements, rather than taking the approach
of motivally developing the
thematic elements of the melody.
Harmony: There are two prominent uniquely identifying harmonic elements of
Giant Steps. (1) The
chord progression that is in the first three measures features four chords
that present an unexpected* way to
reach, or resolve to, the I ( one ) chord of the particular tonality, in this
case the Eb tonality. The chords in
the first two measures have a harmonic rhythm (harmonic rhythm is the duration
or number of beats for
which a chord is played) of two beats each. Following is a presentation of the
chord progression in the first
3 measures, first using numeric identification of the chords in relation to
the one chord, and then the
actual chords:
bVI Maj.7 - VII7 - III Major7 - V7 - I
B Maj. 7 - D7 - G Maj. 7 - Bb7 - Eb
(2) The tonal movement ascending in Major 3rds, through the second eight
measures of the song, beginning
with Eb Major (measure 9) to G Major (measure 11) to B Major (measure 13), and
back to Eb Major
(measure 15). The movement to each successive tonality is accomplished through
the use of ii-V7
( two-five ) progressions (that is the use of chords built on the second and
fifth degree of the forthcoming
tonic chord that appears in the second measure of each two measure phrase. In
measure 9, the chord is Eb
Major 7. Measure 10 employs (for two beats each) an A minor 7 to a D7 chord -
which is a ii-V7 chord
progression in the key of G. In measure 11, the progression resolves
expectedly to G Major (the tonality that is a
Major 3rd above Eb in measure 9). Then in measure 12 there is a ii-V7
progression of C# minor 7 to F#7. It
resolves, expectedly, to B Major in measure 13.
Background and Historical Information: See page 52 in this issue of Jazz
Improv. for the excerpt of
Chapter 5, Giant Steps, from the book Ascension: John Coltrane and His
Quest, by Eric Nisenson.
Measure by Measure
Understanding of the song:
(Since the melody is played twice, the numbers in parentheses indicate the
corresponding measure number in the second chorus, or repeat, of the melody)
Measure 1 (and 17): This measure begins the four measure phrase whose chord
progression is
recognized as a strongly identifying harmonic element and sound related to
Giant Steps. The phrase will be
sequenced in measures 5 through 9. The phrase beginning in measure 1, begins
with a B Major 7 chord
which represents the bVI degree of the Eb Major tonality toward which the song
resolves in measure 3. The
F# melody note, a half-note, on beat one, functions as the fifth of B Major 7.
The F# descends to the
melody note D, which is the root of the D7 chord (the VII7 chord in Eb).
Measure 2 (and 18): The D melody note at the end of the previous measure
descends to a B melody
note (a half note, on the first beat of this measure). The note B functions as
the third of G Major 7th (the G
Major 7th chord is the VI Major 7th chord in Eb). The B descends to a G melody
note which functions as
the 13th of Bb7 (the V7, or dominant chord in Eb).
The note B, which is the root of the first chord in this measure, is
not a
naturally-occurring note in
the Major key of Eb. Naturally occurring notes in Eb Major (that is, notes
that are part of the Eb Major
scale) are Eb, F, G, Ab, Bb, C, D. The root of the D7 chord, however, is a
naturally occurring note in the
key of Eb - it is the leading tone (or seventh degree scale tone).
It is important to note that the B Major 7th, the D7 and the G Major
7th
chords are not naturally
occurring chords in the key of Eb. (The D7 chord here relates as a chord built
on the seventh degree of G
Major, but is not a naturally occurring modal chord, or scale tone 7th chord
in the key of B. Here, the
Roman Numeral designation of the D7 chord is VII7. The naturally occurring
scale tone 7th chord (which
is not used here) in the key of Eb Major is D Half-diminished 7th, which is
designated as Dx7, (or iix7,using
lower case Roman Numerals.) The lower case Roman numerals are used to
designate minor, half-
diminished and diminished chords, while upper case Roman numerals are used to
designated Major and
Dominant chords).
Therefore, because the D7, which is not one of the scale degree (or
modal
chords) in Eb, it is called
a secondary dominant chord - secondary, because it is not directly related to
the key of Eb. That is, it does
not resolve directly to the tonal center of Eb.
(For more information about Modal scales and their related scale tone chords -
that is the naturally-occurring chord created on each scale tone - see the
article
Demystifying Modes , in this issue of Jazz Improv.)
Note: The melody of Giant Steps in measures 1 and 2, is composed of four
descending half-notes - F#, D,
B, G - the notes of a descending G Major 7th chord. Each of these notes
however, function individually as
chord tones connected to other underlying chords, as explained in the previous
few paragraphs.
Additionally, the resolution to the Eb Major tonality in measure 3, is not
predicted by these notes. These
notes actually outline a G Major7th chord.
Measure 3 (and 19): The previous two measures, which expose the strongly
identifying chord
progression of Giant Steps, resolve to the tonic chord in the key of Eb. The
Bb melody note, a whole note,
functions as the fifth of Eb Major 7.
Measure 4 (and 20): The melody note B, a half note, on the first beat,
functions as the 9th of A minor
9. It descends to an A melody note, which is the 5th of D7.
Measure 5 (and 21): This measure begins the four measure phrase, that is a
sequence of the phrase in
measures 1 thru 4, played a major 3rd higher. The phrase begins with a G Major
7 chord which represents
the bVI degree of the B Major tonality toward which the song resolves in
measure 7. The D melody note, a
half-note on beat one, is the fifth of G Major 7. It descends to the Bb which
is the root of the Bb7 chord (The
Bb7 chord here relates as a chord built on the seventh degree of B Major, but
is not a naturally occurring
modal chord, or scale tone 7th chord in the key of Bb. Here, the roman numeral
designation of the Bb 7th
chord is VII7. The naturally occurring scale tone 7th chord (which is not used
here) in the key of B Major
is A# Half-diminished 7th, which is designated as viix7, using lower case
roman numerals. The lower case
roman numerals are used to designate minor, half-diminished and diminished
chords, while upper case
Roman numerals are used to designated Major and Dominant chords).
Measure 6 (and 22): The G melody note, a half note, on the first beat,
functions as the third of Eb
Major 7 (the Eb Major 7 chord is the VI Major 7 chord in the key of B). The G
descends to an Eb melody
note which functions as the 13th of F#7 (the V7, or dominant chord in the key
of B). It is important to note
that the G Major 7, the Bb7 and the Eb Major 7 are not naturally occurring
chords in the key of B. The
note G, which is the root of the first chord is not a naturally-occurring note
in the Major key of B. The note
Bb, the root of the Bb7 chord, is a naturally occurring note in the key of B -
it is the leading tone. However,
the naturally occurring chord on the scale degree of Bb (A#), in the key of B,
is an A# half diminished 7th
chord (also called an A# minor 7th with a flatted 5th). Therefore, because the
the Bb7, which is not one of
the scale degree (or modal chords) in B, it is called a secondary dominant
chord - secondary, because it is
not directly related to the key of B. That is, it does not resolve directly to
the tonic chord in B.
Note: The melody of Giant Steps in measures 5 and 6, is composed of four
descending half-notes - D, Bb,
G, Eb - the notes of a descending Eb Major 7th chord. Each of these notes
however, function individually
as chord tones connected to other underlying chords, as explained in the
previous few paragraphs.
Additionally, the resolution to the B Major tonality in measure 7, is not
predicted by these notes which
instead outline an Eb Major7th chord.
Measure 7 (and 23): The previous two measures, which expose the strongly
identifying chord
progression of Giant Steps, resolve to the tonic chord in the key of B Major.
The F# melody note, a whole
note, functions as the fifth of B Major 7.
Measure 8 (and 24): The melody note G, a half note, on the first beat,
functions as the 9th of F minor
9. It descends to an F melody note, which is the 5th of Bb7.
Measure 9 (and 25): This measure begins the second eight measures of the
song. The second eight
measures is characterized by a two-measure phrase that is sequenced up a major
3rd each time.
In this measure, there is an expected resolution from the Bb7 (at the end of
the previous measure) to the Eb
Major here. The melody note F at the end of measure eight, ascends to a Bb, a
whole note on the first beat
of this measure. The Bb functions as the 5th of Eb Major.
Measure 10 (and 26): The Bb melody note of the previous measure, ascends to
the melody note B, a
half note that functions as the 9thof A minor 9. The note B descends a whole
step to the A, a half note that
functions as the 5th of D7.
Measure 11 (and 27): In this measure, there is an expected resolution from
the D7 (at the end of
measure 10) to the G Major here. The melody note A at the end of measure ten,
ascends up a perfect fourth
to a D, a whole note on the first beat of this measure. The melody note D
functions as the 5th of G Major.
Measure 12 (and 28): The melody note D, in the previous measure, ascends a
half step to the melody
note D#, a half note that functions as the 9thof C# minor 9. The note D#
descends a whole step to the note
C#, a half note that functions as the 5th of F#7.
Measure 13 (and 29): In this measure, there is an expected resolution from
the F#7 (at the end of
measure 12) to the tonality of B Major. The melody note C# at the end of
measure twelve, ascends up a
perfect fourth to an F#, a whole note on the first beat of this measure. The
melody note F# functions as the
5th of B Major.
Measure 14 (and 30): The melody note F#, in the previous measure, ascends a
half step to the melody
note G, a half note that functions as the 9thof F minor 9. The note G descends
a whole step to the note F, a
half note that functions as the 5th of Bb7.
Measure 15 (and 31): In this measure, there is an expected resolution from
the Bb7 (at the end of
measure 14) to the tonality of Eb Major here. The melody note F at the end of
measure fourteen, ascends
up a perfect fourth to a Bb, a whole note on the first beat of this measure.
The melody note Bb functions as
the 5th of Eb Major.
Measure 16 (and 32): Based on the two measure sequences that occur in
measures 9-10, 11-12, 13-14,
you might expect that similar harmonic and melodic movement would occur in
this measure. If the
sequence were continued in this measure, there would be an A minor 7 moving to
a D7 chord. The melody
notes would be B and A which function respectively as the 9th of A minor 7
and the 5th of D7. If the
sequence were continued here, however (using the A minor to D7) the natural
resolution would be to the G
Major tonality. But, we are moving from this measure back to the beginning of
the song, which starts on a
B Major. Coltrane chose instead to use the melody notes D# to C#. These two
notes function respectively as
the 9th of C# minor 7 and the 5th of F# 7. This chord progression provides a
naturally-occurring and expected
resolution back to the B Major in the first measure.
Recordings:
Giant Steps, John Coltrane
Frank Foster Big Band
Pursuance, Kenny Garrett
Eric Nemeyer
The following note-for-note, measure-by-measure analysis of Giant Steps is
posted for those interested in gaining a deeper understanding of the
landmark
composition by John Coltrane. This analysis, along with others, appears in
Jazz Improv�Magazine (Winter 1998 Edition) which features songs and
transcribed solos of John Coltrane along with book excerpts and information
appear in the Spring edition. For further information, please feel free to
(Motive #1): The melody and chord changes in measures 1 through 4 are
sequenced a
major 3rd lower, in
measure 5 through 8. This means that all of the following: the rhythms, the
intervals between the melody notes,
the direction of the melody, the qualities of the chord changes (whether
the
chord is major, minor dominant,
etc.), and the relationships between the chords in the given passage - are
all
the same, but begin on a
different scale degree. In this case, the scale degree to which we are
referring is a Major 3rd lower than the
original phrase.
(Motive #2): Measures 9 and 10, the first two measures in the second half
of
Giant Steps include a melodic
motive, played over the chord changes, Eb Major (measure 9) and A minor -
D7
(measure 10). This
two-measure phrase is sequenced twice. Each time it is sequenced up an
interval of a major 3rd. In
measures 11 and 12, it is sequenced on the chord changes G Major and C#
minor
to F#7. In measures 13
and 14, it is sequenced on the chord changes B Major and F minor to Bb7.
Rhythm: Melody: Mostly half notes, quarter notes played on the beat.
Improvised Solo: Mostly running
eighth notes, some syncopated phrases, and a 16th note and 32nd note
flourishes.
Number of Solo Choruses: 10 (16-measure) solo choruses played by Coltrane.
Solo: Coltrane s solo is constructed using mostly scales, chord arpeggios,
and patterns that work within
and strongly identify the pre-determined set of chord changes. In other
words,
Coltrane uses this an
opportunity to develop the harmonic elements, rather than taking the
approach
of motivically developing the