Coltrane changes
Coltrane changes are a distinctive harmonic progression in jazz music characterized by rapid modulations between tonal centers spaced a major third apart, typically connected by dominant seventh chords to create a cycle of three or four keys that divide the octave symmetrically.[1] This technique, also known as the "major third cycle" or "Coltrane cycle," substitutes complex chord sequences for simpler standard progressions, enabling intricate improvisations over fast-changing harmonies.[2] Popularized by saxophonist John Coltrane in his 1959 composition "Giant Steps" from the 1960 album of the same name, the changes feature a core sequence cycling through B major, G major, and E♭ major, with dominant chords like D7 leading to G and B♭7 to E♭.[1][3]
Although elements of this symmetrical key movement appeared in earlier works, such as Jerome Kern's 1917 song "Till the Clouds Roll By" and Duke Ellington's 1956 arrangement "Blue Rose," Coltrane systematized the approach for modern jazz, drawing inspiration from Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns (1947), which explored cyclic interval patterns.[1][4] In "Giant Steps," the progression unfolds at a brisk tempo of around 290 beats per minute, with chords shifting every two beats, demanding exceptional technical and theoretical proficiency from performers.[5][6] Coltrane applied variations of these changes in other pieces, such as the four-tonic system in "Central Park West" (modulating via minor thirds through B, D, F, and A♭) and the reharmonized "Countdown," which adapts the ii-V-I structure of Eddie Vinson's "Tune Up."[3][2]
The significance of Coltrane changes lies in their role as a cornerstone of post-bebop jazz harmony, pushing the boundaries of tonal complexity and influencing generations of musicians by providing a framework for navigating chromaticism through cyclic tonality.[4] Since their introduction, they have become a staple in jazz education, often studied as a rite of passage for improvisers seeking to master advanced substitutions and melodic patterns derived from interval cycles like the augmented scale or ditone.[3] The progression's demanding nature—requiring soloists to outline multiple key centers in quick succession—exemplifies Coltrane's innovative spirit, blending rigorous structure with expressive freedom and cementing its place in the evolution of jazz improvisation.[1]
Overview
Definition
Coltrane changes represent a harmonic progression technique in jazz that employs rapid modulations between keys separated by major thirds, creating a fast-moving harmonic rhythm through chromatic third relations.[7] This method substitutes traditional chord progressions with sequences of dominant or ii-V movements that tonicize keys a major third (interval class 4, or four semitones) apart, dividing the octave into three equal segments.[4]
Named after jazz saxophonist John Coltrane, the changes originated in his compositional and improvisational innovations, most notably in the 1959 recording of his composition "Giant Steps."[1] In this landmark track, Coltrane introduced the progression as a vehicle for exploring symmetrical cycles, drawing from earlier theoretical patterns to challenge conventional jazz harmony.[7]
At its core, the structure cycles through three major keys—such as B major, G major, and E-flat major—each linked by major thirds, with ii-V-I progressions briefly establishing each as a temporary tonic before shifting to the next.[7] This underlying major thirds cycle provides the interval framework, enabling seamless yet disorienting transitions that demand precise melodic navigation.[4]
In jazz practice, Coltrane changes facilitate advanced, non-diatonic harmonic motion while preserving tonal unity via shared pivot tones and augmented structures inherent to the cycle.[7] They empower improvisers to traverse expansive key areas swiftly, fostering greater harmonic sophistication and rhythmic vitality without abandoning functional coherence.[4]
Function
Coltrane changes facilitate harmonic acceleration by incorporating multiple ii-V-I progressions in rapid succession, allowing for swift resolutions that build momentum during solos and drive the overall rhythmic flow of a piece.[7] This technique compresses tonal movement into fewer measures, enabling improvisers to navigate through distant keys efficiently without losing structural coherence.
In improvisation, Coltrane changes offer a structured framework for scalar selections, such as switching between modes aligned with each key center, which supports fluid melodic development across the progression.[8] This utility extends to incorporating chromatic passing chords that enhance connectivity between chords, providing improvisers with opportunities to introduce tension through altered dominants while maintaining harmonic logic.
The tonal effects of Coltrane changes arise from their symmetrical key relationships, which balance tension and release by cycling through major thirds, thereby avoiding stark or abrupt modulations in favor of a more integrated harmonic landscape.[7] This symmetry fosters a sense of ongoing resolution, where each ii-V-I segment implies cadential closure while propelling forward motion, contributing to a layered sense of tonal ambiguity and richness.[8]
Beyond their immediate applications, Coltrane changes have profoundly influenced modern jazz harmonic complexity, extending into fusion genres where their rhythmic-harmonic drive underpins extended improvisations and compositional experiments by artists like Wayne Shorter and Herbie Hancock.[7] This legacy stems from their role in expanding the palette of jazz harmony, encouraging a synthesis of bebop precision with freer modal elements.
Theoretical Foundations
Influences
The development of Coltrane changes was profoundly shaped by key figures in jazz whose innovative approaches to harmony informed John Coltrane's explorations. Thelonious Monk's angular harmonies, characterized by dissonant voicings and unexpected resolutions, played a pivotal role during Coltrane's tenure in Monk's quartet from 1957 to 1958. This period at the Five Spot nightclub challenged Coltrane to navigate complex chord progressions with greater precision and creativity, fostering a deeper engagement with harmonic architecture that directly influenced his later substitutions.[9][10]
Similarly, Dizzy Gillespie's bebop modulations provided an early foundation for Coltrane's interest in rapid harmonic shifts and structural experimentation. As Coltrane recounted in a 1960 interview, Gillespie's work alongside Charlie Parker awakened him to the theoretical underpinnings of music.[11]
The theoretical roots of Coltrane changes trace back to Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns (1947), which emphasized symmetrical divisions of the octave, including patterns that inspired the major thirds cycle central to Coltrane's harmonic framework. Coltrane extensively studied this text, applying its melodic constructs to chordal contexts, as evidenced in the structural design of his 1959 composition "Giant Steps."[9]
Coltrane's evolution toward these changes occurred during his modal experiments in the late 1950s, following his time with Miles Davis's quintet from 1955 to 1957 and brief rejoining in 1958. This phase, marked by recordings like Kind of Blue (1959), highlighted a shift from dense chordal improvisation to more expansive forms, setting the stage for the intricate substitutions that defined Coltrane changes.[9]
In the contemporary context, Coltrane built upon chord-scale theory as articulated in George Russell's Lydian Chromatic Concept of Tonal Organization (1953), which posited interconnections between chords and modal scales to enhance improvisational freedom. Russell's framework, which prioritized the Lydian mode as a tonal foundation, resonated with Coltrane's pursuit of harmonic unity and influenced his integration of scales with progressing chords.[12]
Major Thirds Cycle
The major thirds cycle in Coltrane changes refers to a symmetrical progression of three key centers separated by intervals of major thirds, forming a loop based on an augmented triad. Specifically, starting from C major, the cycle proceeds to A♭ major (a major third down), then E major, before returning to C major, as the roots C–A♭–E constitute an augmented triad whose symmetries repeat every major third.[4][13] This structure, derived from patterns in Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns, allows for a complete traversal of all twelve chromatic pitches through associated harmonic functions.[13]
In practice, the cycle often employs a three-key pivot within this loop, where chords or cadences rotate through three major triads descending by major thirds, such as B major, G major, and E♭ major (enharmonically equivalent to D♯ major in the full cycle) for compositions centered around a tonic like B. This pivot creates interconnected tonal relationships, with each key serving as a temporary center linked by the major third interval, facilitating rapid modulations while maintaining structural coherence.[4][14] For instance, in a C-centric context, the progression might outline C: ii–V–I followed by A♭: ii–V–I and then E: ii–V–I, resolving back toward the original tonic.[13]
A representative notation of the root movement in this cycle appears as follows, typically realized through major seventh chords or ii–V–I chains:
| Cmaj7 | | | |
| A♭maj7 | | | |
| Emaj7 | | | |
| Cmaj7 | | | | (return to [cycle](/page/Cycle))
| Cmaj7 | | | |
| A♭maj7 | | | |
| Emaj7 | | | |
| Cmaj7 | | | | (return to [cycle](/page/Cycle))
This sequence, with each chord functioning as the I in its respective key, implies the full ii–V–I resolutions (e.g., Dm7–G7–Cmaj7 for the C segment) that drive the harmonic motion.[4][14]
Mathematically, the cycle divides the octave (1200 cents) into three equal segments of 400 cents each, corresponding to the major third interval, which generates the augmented triad's inherent symmetries and enables the three-key loop to relate to the chromatic spectrum without overlap. This intervallic partitioning, rooted in equal-tempered tuning, underscores the cycle's geometric efficiency, as the roots form a closed augmented triad that mirrors whole-tone scale properties.[13][4]
Harmonic Techniques
Coltrane Substitution
Coltrane substitution involves replacing a tonic I chord with a harmonic cycle consisting of three major chords whose roots are related by major thirds, each approached via a ii-V progression to create smooth modulations between distant key centers. This technique draws on the major thirds cycle, where key centers like B, G, and Eb (for a C tonic) divide the octave into equal parts of four semitones each. In the key of C major, for instance, the Cmaj7 chord is substituted by Bmaj7, Gmaj7, and Ebmaj7, transforming a static tonic into a dynamic sequence that tonicizes these remote keys before resolving back to C.[3]
The pivot role is played by dominant chords that bridge the keys, with each V7 chord resolving to the subsequent major triad a major third away. Specifically, F#7 (V7 of B) leads to Bmaj7, D7 (V7 of G) to Gmaj7, and Bb7 (V7 of Eb) to Ebmaj7, ensuring functional resolution within each mini-key center while propelling the overall progression forward through chromatic voice leading. This use of dominants maintains jazz's idiomatic ii-V-I syntax, preventing abrupt shifts and allowing the bass line to descend chromatically (e.g., F# to D to Bb) for added cohesion.[15]
A full progression formula applies this substitution to a standard I-vi-ii-V turnaround, inserting the cycle after the vi-ii-V to expand the form without disrupting resolution. In C major, the original | Am7 Dm7 G7 | Cmaj7 | becomes | Am7 Dm7 G7 | C#m7 F#7 Bmaj7 | Am7 D7 Gmaj7 | Fm7 Bb7 Ebmaj7 | Cmaj7 |, where the inserted ii-V-Is cycle through the major third-related keys before landing on the tonic. This can be condensed to emphasize the pivot dominants and majors for faster tempos: | Am7 Dm7 G7 | F#7 Bmaj7 D7 Gmaj7 Bb7 Ebmaj7 | Cmaj7 | .[3]
The advantages of Coltrane substitution lie in its ability to heighten harmonic density by introducing multiple tonal centers in a compact space, enriching improvisation opportunities while preserving the underlying resolution to the I chord, making it particularly suited to 32-bar song forms like standards. This method avoids harmonic stagnation, providing a framework for advanced reharmonization that supports both comping and soloing with layered tensions and resolutions.[3]
Standard Substitution
The standard substitution represents a simplified adaptation of Coltrane changes, reducing the full three-key cycle to more manageable forms such as partial cycles using two of the three keys or incorporating the augmented triad cycle (e.g., C, E, A♭ major) connected by dominant seventh chords. This approach modulates between tonal centers separated by a major third, such as cycling from C major to E major, forming part of the symmetric augmented triad framework while minimizing the number of rapid shifts.[16] Tritone substitutions further simplify this by replacing a dominant chord (e.g., G7) with its tritone equivalent (Db7), preserving the major third relation but adding altered tensions for smoother voice leading within the cycle.[16]
A typical notation for this abbreviated form, using the augmented triad cycle, appears as | Cmaj7 | B7 | Emaj7 | G#7 | A♭maj7 | F7 | Cmaj7 |, where the sequence emphasizes ii-V movements (implied) toward each tonal center a major third apart, condensing the cycle while maintaining resolutions. This form highlights the core principle of major third modulation while omitting extended ii chords for brevity.[16]
Modern variants of the standard substitution integrate modal interchange, drawing chords from parallel minor or other modes to introduce borrowed colors, particularly in post-bop improvisation. In fusion contexts, these progressions often pair with whole-tone scales over the dominant chords, creating symmetrical lines that align with the cycle's chromaticism and expand harmonic possibilities.[16]
These adaptations gained prominence through adoption by musicians like McCoy Tyner, who incorporated Coltrane-derived harmonic ideas into his quartal-based post-bop style after leaving Coltrane's quartet in 1965. By the 1970s, such substitutions appeared frequently in Real Book charts, standardizing their use in jazz pedagogy and ensemble arrangements for tunes like "Giant Steps."
Applications in Composition
Tune Up
"Tune Up" is a jazz standard composed by Eddie Vinson and credited to [Miles Davis](/page/Miles Davis) in the 1950s, originally recorded by Davis's quintet featuring John Coltrane on tenor saxophone. Coltrane's innovative application of his harmonic substitutions to this tune appears in the context of the 1960 album Giant Steps, where the technique is introduced through the contrafact "Countdown," which reharmonizes "Tune Up"'s structure using Coltrane changes.[1][7][17]
The tune employs a standard AABA form in 32 bars, typically in C major or D major, with Coltrane inserting a cycle of major thirds into sections like the bridge or turnaround for heightened harmonic motion. In the reharmonization (as in "Countdown"), the progression shifts through key centers related by major thirds, such as in D major to B♭ major and G♭ major, creating a series of rapid ii–V–I resolutions (e.g., Em7–F7–B♭maj7 to D♭7–G♭maj7 to A7–Dmaj7, leading back to the tonic). This insertion in the turnaround exemplifies Coltrane substitution, where traditional ii–V–I patterns are expanded with symmetric tonal cycles to facilitate fluid key transitions.[2][18]
In Coltrane's improvisations over these changes, his tenor saxophone lines emphasize arpeggios derived from the underlying chords and pentatonic scales aligned with the shifting tonics, allowing seamless navigation of the rapid modulations. These scalar and arpeggiated approaches, influenced by symmetrical divisions of the octave, enable melodic continuity across the major third cycles, as heard in the dense, interconnected phrases that outline the harmonic pillars.[7]
The relevant recording stems from sessions on May 4 and 5, 1959, at Atlantic Studios in New York City, with Tommy Flanagan on piano, Paul Chambers on bass, and Art Taylor on drums. Although "Countdown" is played at an up-tempo pace, this application demonstrates the versatility of Coltrane changes in reharmonizing familiar standards, laying groundwork for their use in more contemplative ballad settings.[9][19]
Countdown
"Countdown" is a contrafact composed by John Coltrane, recorded in 1959 and released in 1960, reharmonizing Eddie Vinson's "Tune Up" by accelerating the Coltrane changes into a double-time feel that compresses the original 32-bar AABA form into an effective 16-bar structure.[20][2] This up-tempo piece cycles through key centers separated by descending major thirds, beginning in D major with ii-V-I progressions that pivot via dominant chords to B♭ major and then G♭ major before resolving back to D major, creating a rapid harmonic rhythm that emphasizes the major thirds cycle as the underlying driver.[20][21]
The tune's progression features a chain such as Em7–F7 | B♭maj7–D♭7 | G♭maj7–A7 | Dmaj7, repeated across tonal centers in C and B♭ to fill the form, with each four-bar unit outlining V7–I resolutions that propel the descending cycle.[2][21] In performance, Coltrane's tenor saxophone solo on the recording employs iconic chromatic lines that navigate the shifting tonalities, resolving tensions through the cycle's structure, while pianist Tommy Flanagan's comping provides rhythmic and harmonic support amid the brisk pace.[20]
Featured on Coltrane's seminal 1960 album Giant Steps, "Countdown" exemplifies the changes in a high-energy context, highlighting their potential for intense improvisation and harmonic density in a quartet setting with Paul Chambers on bass and Art Taylor on drums.[20][2]
Giant Steps
"Giant Steps" is an original jazz composition by John Coltrane, first recorded on May 5, 1959, at Atlantic Studios in New York City and released as the title track of his 1960 album of the same name.[9] The piece follows a 16-bar form in AABA structure, with each A section featuring two cycles through a sequence of three key centers—B major, G major, and E♭ major—arranged in a symmetrical cycle separated by major thirds, creating three full cycles per chorus.[22] This structure condenses rapid harmonic motion into a compact framework, demanding precise navigation of shifting tonalities within the standard song form adapted for hard bop.[1]
The chord progression of "Giant Steps" exemplifies Coltrane changes through its use of major seventh chords as tonic anchors, connected by ii-V progressions that pivot between the key centers. The A sections (bars 1-8 and 9-16) follow this pattern, repeated for symmetry:
| Bar | Chord Progression |
|---|
| 1 | Bmaj7 |
| 2 | D7 Gmaj7 |
| 3 | Gmaj7 Bb7 |
| 4 | Ebmaj7 |
| 5 | F#7 Bmaj7 |
| 6 | Bmaj7 |
| 7 | (Repeat of bars 1-2 or cycle continuation) |
| 8 | Bmaj7 |