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 Posted: Thu Aug 10, 2006 11:37 pm
The ironic thing about this is that I've never seen the music for Giant Steps, just heard it. And a friend of mine said there's no pattern to it. She suggested I learn Anthropology first...
Thanks, I don't have anymore questions
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Posted: Fri Aug 11, 2006 1:43 pm
MagicKnightKenshin The ironic thing about this is that I've never seen the music for Giant Steps, just heard it. And a friend of mine said there's no pattern to it. She suggested I learn Anthropology first... Thanks, I don't have anymore questions Anthropology is a great song, but i´m just saying that because Charlie Parker wrote it. it´s very fun to play, though.
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Posted: Sat Aug 12, 2006 9:54 pm
doc.hyphae Anthropology is a great song, but i´m just saying that because Charlie Parker wrote it. it´s very fun to play, though. We're playing the Anthropology transcription for jazz audition.
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Posted: Sun Aug 13, 2006 3:43 pm
MagicKnightKenshin Is there any key centre in Coltrane's Giant Steps? The chords don't seem to have any pattern to what I can see... I Got Rythmn changes
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Fashionable Conversationalist
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Posted: Thu Aug 17, 2006 2:34 pm
MHHornfreak MagicKnightKenshin Is there any key centre in Coltrane's Giant Steps? The chords don't seem to have any pattern to what I can see... I Got Rythmn changes you have rhythm changes?
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Posted: Thu Aug 17, 2006 3:45 pm
doc.hyphae MHHornfreak MagicKnightKenshin Is there any key centre in Coltrane's Giant Steps? The chords don't seem to have any pattern to what I can see... I Got Rythmn changes you have rhythm changes? No, he means the 'I Got Rythm' changes. You know, "I got rythm, I got rythm... I got rythm, yadda yadda etc...."
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Posted: Thu Aug 17, 2006 4:16 pm
Actually, the theory behind the Giant Steps changes has been known for a while. They call it "Triangle changes". Why? If you look how the chord progression moves on a circle of fifths, it actually makes a triangle. There's a book that has excerpts from Coltrane's own notes, and in it, they show a circle of fifths that Coltrane drew showing all the possible triangles you could make with those changes. Fun fact. VERY entertaining. It's good to know the Giant Steps changes because you can substitue them everywhere. Bergonzi does it all the time if you listen to him. I was listening to him the other day, and he was even doing it over Night and Day. It was wierd as all sin, but worked oddly enough. It's really fun to work 'em over a jazz blues progression....I forget where at the moment, but it is fun.
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Posted: Fri Aug 18, 2006 2:23 pm
Tenor_Guru doc.hyphae MHHornfreak MagicKnightKenshin Is there any key centre in Coltrane's Giant Steps? The chords don't seem to have any pattern to what I can see... I Got Rythmn changes you have rhythm changes? No, he means the 'I Got Rythm' changes. You know, "I got rythm, I got rythm... I got rythm, yadda yadda etc...." i know; i was just making a really bad joke lol ... haha smile ... er, sorry guys sweatdrop .
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Posted: Fri Aug 25, 2006 7:59 pm
Tenor_Guru MagicKnightKenshin I think my occipital lobe just exploded.... I try! Just remeber, there's only three main tonal bases within the song. I belive Bmaj, Gmaj, and Ebmaj! Bmin7 with a G root is Gmaj7 (or 9 if you wanna split hairs) and Gmin7 with an Eb root is Ebmaj7 or 9. Patterns Patterns. And. This one BLOWS MY MIND. Ebmin7... with a B root? Just think about it for a second. I LOVE COLTRANE!! YAY!!!
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Posted: Fri Aug 25, 2006 8:06 pm
I'm going to blow everyone's occipital lobes here. Okay. Let's say you're playing blues. You have... (in C)... C Eb F F# G Bb C. That's your scale. well if you want to do MAJOR blues... you use THIS scale... C D Eb E G A C. Now we have C D Eb E F F# G A Bb C. Now if you look at b9, which is C#, Db, or something else you want to call it... and then you look at b13 as well, and you have Ab, another chord note (sorry, piano player here). It sounds a bit funky, but it IS a valid chord note. COLORTONE. Now. What notes do we have? C. C#. D. Eb. E. F. F#. G. Ab. A. Bb. C. WHat's missing? That's right. B natural. 11 out of 12 notes you can HOLD in a blues solo are right. My friend jay, an amazing pianist, before every performance would say to his band "Make a mistake." And if you hold that B natural.... and keep playing it... doing turns and stuff like that, but just staying on that note... you will play a very professional sounding solo simply because you MEANT to do that. Or at least the audience thinks so.
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Posted: Sat Aug 26, 2006 8:26 am
Gorisamurp And if you hold that B natural.... and keep playing it... doing turns and stuff like that, but just staying on that note... you will play a very professional sounding solo simply because you MEANT to do that. Or at least the audience thinks so. I do that. It drives my director nuts... Simply nuts.
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Posted: Sun Sep 03, 2006 11:57 am
Tenor_Guru Gorisamurp And if you hold that B natural.... and keep playing it... doing turns and stuff like that, but just staying on that note... you will play a very professional sounding solo simply because you MEANT to do that. Or at least the audience thinks so. I do that. It drives my director nuts... Simply nuts. nuts in a good way or bad way?
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Posted: Sun Sep 03, 2006 11:58 am
Gorisamurp I'm going to blow everyone's occipital lobes here. Okay. Let's say you're playing blues. You have... (in C)... C Eb F F# G Bb C. That's your scale. well if you want to do MAJOR blues... you use THIS scale... C D Eb E G A C. Now we have C D Eb E F F# G A Bb C. Now if you look at b9, which is C#, Db, or something else you want to call it... and then you look at b13 as well, and you have Ab, another chord note (sorry, piano player here). It sounds a bit funky, but it IS a valid chord note. COLORTONE. Now. What notes do we have? C. C#. D. Eb. E. F. F#. G. Ab. A. Bb. C. WHat's missing? That's right. B natural. 11 out of 12 notes you can HOLD in a blues solo are right. My friend jay, an amazing pianist, before every performance would say to his band "Make a mistake." And if you hold that B natural.... and keep playing it... doing turns and stuff like that, but just staying on that note... you will play a very professional sounding solo simply because you MEANT to do that. Or at least the audience thinks so. whoa, you are a deep thinker, and this post is very useful. thanks!!! razz
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Posted: Mon Sep 18, 2006 10:11 pm
doc.hyphae Gorisamurp I'm going to blow everyone's occipital lobes here. Okay. Let's say you're playing blues. You have... (in C)... C Eb F F# G Bb C. That's your scale. well if you want to do MAJOR blues... you use THIS scale... C D Eb E G A C. Now we have C D Eb E F F# G A Bb C. Now if you look at b9, which is C#, Db, or something else you want to call it... and then you look at b13 as well, and you have Ab, another chord note (sorry, piano player here). It sounds a bit funky, but it IS a valid chord note. COLORTONE. Now. What notes do we have? C. C#. D. Eb. E. F. F#. G. Ab. A. Bb. C. WHat's missing? That's right. B natural. 11 out of 12 notes you can HOLD in a blues solo are right. My friend jay, an amazing pianist, before every performance would say to his band "Make a mistake." And if you hold that B natural.... and keep playing it... doing turns and stuff like that, but just staying on that note... you will play a very professional sounding solo simply because you MEANT to do that. Or at least the audience thinks so. whoa, you are a deep thinker, and this post is very useful. thanks!!! razz someone called me useful. that makes my day. Like seriously it does. I have accumulated so much seemingly useless jazz knowledge on improvisation and just basic chords... it makes me very sad not to be able to share it. If anyone needs any help ever... I will personally answer any question they have. And just to let you know. BE SURE TO ASK ME!!!! Because I KNOW!!!! And if I don't... something's wrong... so I'm going to find out this last scrap of jazz theory and add it to my knowledge. THEN ANSWER YOU! Anyway. Thanks doc!
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