Giant Steps Solo

Here's a one chorus solo over Coltrane's Giant Steps. The composition is based upon the three tonic system which divides the octave into three equidistant parts. As a start, we can solo only using the three major scales of the three tonal areas of B, G and Eb. Another possibility is to use a major pentatonic scale (1, 2, 3, 5 & 6) a 5th above each of those keys. This solo uses the major pentatonic scale a 5th above the major chords. (The pentatonic over the Maj chord omits the root and the 4rth, which can be good notes to leave out). However, on the V7s and II-7 V7s, I'm using a symmetrical diminished scale (H/W from the root of the Dom7th chord). The Sym Dim scale used over the II-7 V7 may sound a little out but it can create interesting lines in the context of the II-7 V7. How "out" it sounds depends on the specific notes in the Sym Dim scale that are chosen and emphasized. The juxtaposition of the major pentatonic and symmetrical diminished scale is a nice combination. The major pentatonic scale used over the major chords is a little more inside. So, we get a good balance between the more out symmetrical diminished lines followed by the resolution of the more inside pentatonic lines over the major chords.

Pentatonic Scale Techniques
A few techniques to keep in mind when creating lines from the pentatonic scale: Leaving out a note: sometimes using only three or four notes out of the five note pentatonic scale can be effective. This is used throughout the solo. Leaving out the 3rd of the pentatonic scale, can create lines that contain whole steps, perfect 4rths and perfect 5ths. This gives the lines a very "open" type of sound. Skips: in addition to leaving out a note, using skips also allows us to breakaway from typical sounding pentatonic lines that have become cliche. Notice the open sound of the pentatonic line in measure 13 over the B major chord.

Symmetrical Diminished Scale Techniques
A few techniques to keep in mind when creating lines from the symmetrical diminished scale: Patterns/Shapes: the scale contains many interesting shapes. I like the four note shape of a minor 3rd, perfect 4rth, minor 3rd. I use that shape in the solo. Any of those shapes or even a simple interval can be transposed up or down in minor 3rds. Notice the perfect 4rth interval transposed down a minor 3rd in measure 5 over the Bb7.

F. Ab-7. For example in the D7 H/W scale. 3. For example on D7. Let me know if you have any questions. we also get four pentatonic b2 scales (1. Ed . Ab and B. we get D-7. F-7. Those tensions should correspond to the Sym Dim scale. b2. Ab. b9. For example. the scale also contains many 7th chords. D-. make sure to include the right tensions for the Dom 7th chords. We can also juxtapose 7th chords. Specifically. Other Considerations Tension emphasis: in addition to using the aforementioned scale techniques. We can think of the pentatonic b2 scale as a five note shape. B-7. Hence. notice the application of the Eb pentatonic b2 scale on the last bar of the solo over the C#-7 F#7. Ab7. I've been working on these techniques over Giant Steps along with my students. For example in the D7 H/W scale. Ab-. F and B or Aband D-. #9. that five note shape can be transposed up or down in minor 3rds. Pentatonic b2 Scale: in the symmetrical diminished scale. B.Triads/7th chords: the scale contains many triads. #11 and 13. If you are adding tensions to the voicings. It's been a lot of fun. A nice technique is to juxtapose two of the triads in creating a line. F. B-. Connecting: connecting the lines (via stepwise motion) going back and forth from the pentatonic to the symmetrical diminished scale will make the lines flow and sound natural. Perhaps that can be another post in the future. F-. Notice in measure 10 over the A-7 D7. Accompaniment: it would be good to play the solo on vibes and/or piano along with the accompaniment in order to hear the lines over the underlying harmony. Notice all of those triads are minor thirds apart. The use of the Sym Dim Scale on the related II-7 can bring out some unusual notes including the natural 13 which I like. The next technique I'm thinking of applying is superimposing Maj 7th #5 chords and using the Symmetrical Augmented scale. we get a pentatonic b2 scale starting from D. 5 & 6). B7. Similarly. we get D. the juxtaposition of B-7 and F-7. it's also important to bring out the tensions of the underlying chords in the solo line. F7. For example. D7.

(utilizing￿pentatonics￿and￿sym.) Giant￿Steps￿Solo nœ œ bœ nœ nœ By￿Ed￿Saindon 4 #œ &4 œ bœ ‰ Bma7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿D7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿Gma7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿B b7 #œ E bma7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿A-7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿D7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿ #œ #œ œ œ œ œ œ bœ œ œ bœ œ œ #œ œ œ œ œ œ #œ œ œ Gma7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿B b7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿E bma7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿F #7 œ #œ œ œ œ bœ bœ #œ œ œ bœ #œ #œ #œ #œ œ œ œ œ œ Bma7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿F-7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿B b7 œ œ œ #œ œ #œ nœ bœ œ œ bœ œ œ E bma7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿A-7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿D7 œ œ œ œ bœ œ œ œ œ bœ nœ œ œ bœ bœ œ œ #œ #œ nœ Gma7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿C #-7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿F #7 œ Bma7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿F-7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿B b7 œ #œ œ œ œ #œ #œ #œ bœ œ œ bœ œ.￿dim. E bma7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿C #-7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿F #7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿Bma7￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿ #œ #œ œ #œ #œ bœ œ bœ nœ nœ #œ #œ œ bœ bœ Œ Ó j bœ nœ œ bœ œ bœ nœ œ œ #œ .

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