THE JAZZ STYLE OF dou GORA ical and Historical Perspective RAT are JAN Re % i & haz Lot]© |) OCHIN GOLMITIRANTE > TenorSaxephome * contents 2 Foreword 3. Relationship Of Chords To Scales 6 Transcribing Solos From Records 8 Biographical Sketch ii 10 John Coltrane The Innovator 12 Caltrane’s Periodization eo 14 Coltrane Genealogy Chart i | 15 John Coltrane Preferred Tune Types 22_ Coltrane The Composer 24 + Original Compo: ions Of John Coltrane 25 A Selected Bibliography 27 A Selected Discography 29 A List Of Available Transcribed Solos 34 Transcribed Solos With Analysis _ and Model Analysis Sheet . 36 Countdown 43 Straight No Chaser é 51 Miles! nes 56 Little Melonae 68 The Language Of Coltrane 69 I V7 Patterns 82 Cycles, Turnarounds, etc. 84 Melodic Patterns Copyright © 1980 by STUDIO 224, 224 §, Lebanon St, Lebanen, IN 46052 A Rights Reserved Intecnational Copyright Secured Printed in USA ‘Sole Distributorship: STUDIO PIR, Ine: Foreword In recent years, with proliferation of transcribed solos and the growing awareness of their value as teaching tools, it has become apparent to ‘many jazz educators that simply memorizing a solo.and playing it is not maximizing the potential of the technique as a learning expprience. By the inclusion of in depth analysis, selected’ discography and bibliography, biographical data, a list of innovations, a genealogy, etc., as well as actual transcriptions of important solos, these books represent an attempt to place the study of recprded solos in a more meaningful context, i | In rnany tespects the jazz improvisor is a composer and as such might profit from being exposed to the same regimen and disciplines as a composer per se. One such discipline has to do with learning to write or play by imitating various models. Virtually every composer has gone through the stage of wriling pieces in the style of Bach, Bartok, Stravinsky, Ellington and others. In imitating a particular composer the Tieophyte must learn and assimilate the harmonic, melodic, and rhythmic language of that composer. He must be able to project in a reasonably accurate fashion what thal composer will do, given a particular set of musical options. This type of learning experience becomes doubly important when the composer under scrutiny is one of the giants who in one area or another is responsible for transforming the aesthetic. For instance, in any given period a handtu! of innovators is responsible for introducing new concepts into the music or simply reinterpreting or reshaping the extant language consistent with imperatives of that time. It seems to this writer that the jazz player might profitably adapt an approach similar to that of the budding composer in learning his craft. With that end in mind this series of style studies has been designed to provide a modus operandi for studying, analyzing, imitating and assimilating the idiosyncratic and general facets of the styles of various jazz giants throughout the history of the music. ~ Although a model styles and analysis work sheet is provided, the reader may want to tnodily it or design another one which fits his or her specitic needs. In any event,the aspiring jazz player is encouraged to completely dissect the improvisations as well as the tunes on which they are based. (This is absolutely mandatory in the case of bebop tunes whose patterns, melodic lines and harmonic structures comprise a subsiantial portion of the vocabulary of every contemporary jazz musician) peer iRelationship Of Chords To Scales Major Family Chord Type) Major—13579. Major(f'4)13579 411 Major (#4 #5) 1.34579 14 Major (b6 ¥9)1357 911 13. Major 13579 Major 13579 Major 13579 Major 13579 Major 13579 Scale Form Major 12345678 lydian1 23845678 | Lydian Augmented,1 2 shapes 78 Augmented 14235671 diminished 1425343 #456 678 Harmonic Major 123455678 blues 163434 $45678 minor pentatonic 16345 b7 8 Major pentatonic 123568 Seventh scale (Major) 123455678 minor Family Chord Type minor, tonic (I) Function minor 7th (ll) Function Scale Form Dorian 1253456 b78 Natural minor 123.45 b6 b78 Phrygian 1 b2 b3 45 b6b7 & Ascending Melodic minor 125345678 Harmonic minor 1253 455678 minor pentatonic 13 45 b7 8 Blues 163 4 #4 5b7 8 Dorian 1 263456679 Ascending melodic minor 126345678 Harmonic minor 12345671 minor Pentatonic 1 3.45578 Blues 13 4#4578 diminished (stant with whole step) 125348445678 Seventh scale (start on the 4th) 12345667 h78 Dominant Family Chord Type Dominant 7th unaltered 135679 Dominant 7th #11 Scale Form Mixolydian 123456 b78 Lydian Dominant 1 23 #45678 Major Pentatonic 12.3568 minor Pentalonic 1 b3 45 b7 8 Blues 13.43 4845578 Seventh scale 123.4567 471 Lydian dominant 135b79411 1.2344 56b7 8 Dominant 7th b5, #5 or both. Whole Tone 123 $4 $5 96 13b5b7 1345 b7 1.9(65 45) b7 9 OTTER ner orn ego epee rope | geese eewenaeemennaec tsChord Type Seale Form Dominant 7th (b9) Diminished 435 b7b9 + b2 b3 43456 b78 < Dominant 7th #3 _.. Diminished 1 b2 b3 43 #45b78 135 b7 89 Diminished whole tone 12 b3 434 Hs RES . Dorianit 2b3 4 6b78 Blues 153434 #45578 minor pentatonic 1b345 b7 8 Dominant 7th b9 and #9... -- diminished 1 b2 b3 a3 5.6 b7 8 diminished whale tone + b2b3 43 4 KS #68 minor pentatonic 1 b3 45 bre oO Blues 153 43.445 b7 8 Dominant 7th bS and b9 diminished 126343 #4 56b78 dirninished whole tone 12 b3 43 #4 #5 #68 minor pentatonic 1345 b7 8 Blues 1 b3 3A #45678 Dominant 7th diminished scale p5and b9 13 bs b7 b9 12 b3 a3 #45678 y5 and $9 13 #5 b7 #9 minor pentatonic pSand 491305 b7#9 15345 b78 45 and p9 13 45 b7 b9 Blues 1b3 43444578 - (and/combination) Half-diminished chords “ chord Type Scale Form (half-diminished 71h . . - _. Locrian 1 b2b3 4 bS b6 b7 8 (9?) Locrian #2 — 1263.4 b5b6b7 8 or Seventh scale (start on b6) 1234567 071 minor 71h (b5) diminished (start with whole step) 1b3b5 b7 12b34 44 #5678 blues 1b3 4 #45 b7 8 diminished chords diminished 7h _ «diminished scale (07) (start with whole step) 1b3b56 12b34 4495678@ecause the scale(s) which | refer to as seventh scales have not been dealt with in any book except my Improvisational Patterns. The Bebop Era, Volumes 1, 2, and 3 (published by Charles Colin; 315 West -.53rd Street; New York, N.Y. 10019), perhaps a word of explanation would be in order: 1. The scale usually moves in basic eighth note patterns. ¢ 2. The scale always starts on a downbeat and a chord tone 3. More often than not, the scale is played in a descending fashion, 4. When playing a major scale over a | chord, an extra half step occurs between § and 6 il the scale starts on the root, 3rd, Sth, or 7th of the chord (17 6b6 5432 4). 5. When playing a mixolydian scale over a II, V7 or Vil chord, an lexira half step usually occurs between the tonic and the flat ‘seventh of the scale, as in the following: GGbFEOCBAG 17b7654321 Dmi?, G7, B ‘This cule is operative as tong as the scale starts on the root, 3d, Sth, or 7th of the V7 chord. 1 Owing to the importance of the seventh scale and its pervasiveness in virtually every chord playing situation, | have chosen to place the scale in brackets whenever it appears in the analyses.i Transcribing Solos From Records One of the undersirable consequences resulting Irom a surfeit of teaching methods, improvisation books, and other educational aids has been the virtual disappearance of the player who accelerates learning by playing along wilh records. : it is lamentable that we teachers, authors, educators, and performers trom the period 8.J.M.B. (belore jazz method books) have forgotten that we learned our craft by playing along with and studying the solos of our jazz heroes While no rational educator would advocate a return to those times when recordings were the principal means of learning, it behooves us to re-examine the very important role that record transcriptions can and must play in the development and continued growth of jazz players. For the young jaz player, listening to, analyzing, and playing along with records is an absolute must if he is to learn the language, its syntax, grammar inflections, etc. The situation for the young player is not unlike that of a student learning to speak a foreign language. While books, flash cards and other visual aids are invaluable, they can never supplant hear- ing and imitating the spoken word. Even our native language is learned best through imitation of those around us; father, mother, brother, sister, nurse, etc. A child growing up in a French-speaking environment does not, as a consequence, speak German: he speaks French. Uniess the budding jazz player is in an aural environment where the language of jazz is spoken (played), he will not learn that language. Subllety, correct use of inflection, a feeling for swing, interpretation, style, etc., are all things that are most ctlectively teased through the repeated hearing of those players who first defined the music. For the advanced jazz player, listening, analyzing, and transcribing are equally valuable if growth is to be continuous. Although the ends may be different and actual transcription, either written or played, may not take place: every good jazz player has a mandate {o listen in a disciplined fashion to the music of his contemporaries. How else to stay abreast of the myriad, sometimes violent, changes taking place in this continually evolving music? Sometimes new techniques, different approaches, new harmonic, thythmic, and melodic ideas are more easily grasped when repeated listening is possible, hence the value, again, of record transcription. The following aids to transcribing are offered: 1. Check turntable for key (pitch). Use common sense or some * Adjust speed of tumntable to a desired pitch other referential, such as a tune on the album where ") key is known.y 2. Record solo on 7¥ ips on tape (two levels beneath). Try to tecord {rom at least one chorus betore (salely with changes, tempo, feel, etc.) 3. Listen to entire solo tor a length (number of choruses) b. general shape, feel, form, etc ©. changes 4. IW faster than moderate tempo, make initial transcription at halt speed, 3% ips a. I possible, transcribe one measure of phrase al a time. : Listen, sing, write. 1b. Play preceding phrase, then new phrase as belore I a rhythm or pitch is troublesome, try to solve it through repeated listening and isolation. If necessary, slow to 1% ips and slop cn the note or rhythm group. Ifa double time persists, transcribe it as though in 4/4 time, i.e. 2 Dd NT) 1 - mA in finished form. Ia piece is particularly complex rhythmically, you might bar off the entire solo, transcribe the first beat in each measure, then beat 3,laler lilling in missing notes. Sometimes educated guesses might be made based on melodic or chythimic practices au courante. A certain degree of predictability usuaily exists to the attuned ear 5. Once the solo is complete, verity at half speed by playing along ‘on your instrument. Add inflections, dynamics, accents, slurs, etc 6. Play al the actual tempo for missed notes, etc. Verify at the actual tempo.i 1926 1938 1939 1941 1943 1945 1946 1947 1948 1949 1950 1951 1952.3 1953 1954.5 1955, 1956-7 1957 1957-8 JOHN COLTRANE Biographical Sketch September 23; born in Hamlet, North Carolina to John Robert and Alice Blair Coltrane. Father was a tailor and a musician who played violin and ukulele. Father died. Started music on the alto horn, Switched to clarinet and alto saxophone. Moved to Philadelphia, worked as a laborer in a sugar refining factory Began studies at the Ornstein School of Music (saxophone with Mike Guerra) Became triends with classmate Bill Baron Made professional debut with combo in Philadelphia. Dralted into U.S. Navy and assigned to the Navy Bands (Marching and Dance) playing clarinet. Released Irom duty after service in Hawaii He returned to Philadelphia and met Charlie Parker Joined Eddie “Cleanhead” Vinson playing tenor saxophone Mid-year; left Eddie Vinson after an extended engagement in California where he again met “Bird Worked with the Heath brothers. Joined the Howard McGhee Band. Joined Dizzy Gillespie as an alto saxophonist Made first recording with the Dizzy Gillespie Band. (Met Sonny Rollins). Returned to Philadelphia where he studied with Dennis Sandole al the Granolf Schoo! of Music. Played with Earl Bostic (A Rhythm and Blues Band), Joined Johnny Hodges who had just left Duke Ellington. Lell Johnny Hodges and played with Jimmy Smith, Bud Powell and others. October 3, married Naima (Juanita) Grubbs Joined Miles Davis | Came to prominence with the Miles Davis Quintet. Experienced a spiritual awakening Left Miles brietly for a job with Thelonious Monk) Spot Cafe in New York at The Five1958-60 Worked with Miles and recorded with Cecil Taylor 1958 Recorded Milesiones with Miles Davis (one of the first modal tunes) . 195% Participated in the prophetic modal album Kind of Blue with Miles Davis. 1960 Formed his own quartet Recorded for the first time on soprano saxophone My Favorite Things 1961 Began recording for Impulse Records with his quintessential group: McCoy Tyner, Elvin Jones and Jimmy Garrison (sometimes Eric Dolphy) November; toured Europe. Voted top tenor saxophone, top miscellaneous instrument (soprano saxophone), and top new star combo in down beat critics poll 1962 Recorded with Duke Ellington, 1963 March 6 and 7; recorded with Johnny Hartman, the great jazz singer 1965 Recorded A Love Supreme. * Won virtually every possible award in down beat readers poll ! Hail of Fame Jazzman of the Year Tenor Saxophone Record of the Year A Love Supreme ‘Changed Group Personnel — (Jones and Tyner lel) 1966. Married Alice McLeod. * Experimented with new instrumentations, i.e., two drummers, two bassists, added instruments. Toured Japan. 1967 July 17; died in Huntington, Long Island, leaving a widow Alice ew Coltrane, three children and two step-children. 1968 Elected to the Playboy Jazz Hall of Fame cree enepinemees10 John Coltrane — The Innovator John Coltrane's influence is fell in the sound of virtually every jazz voice today. His innovations include expanding the harmonic vocabulary via: 1. An exlremely sophisticated system of substitutions as on Giant Steps, Countdown and But Not For Me (example 1) 2. Chord superimposition, that is stacking chords and scales on top of each other. Coltrane also, during his vertical period, tended to use a greater quantity of chords in a given span of time. It is an aphorism that beyond a certain point any quantitative change will produce a qualitative change. So it was with the music of Coltrane. The change brought by bombarding the listener with vertically dense sections was nol merely one of degree but in fact a change of kind or order. 3. Establishing a wider range of scalar options (i.e., diminished scales, Indian, Oriental, Eastern, pentatonic). This innovation of Indian and modal ideas led to greater freedom for jazz soloists in the ‘60s, taking the music away {rom improvisations on songs or song patterns and allowing it to move toward wholly new musical feeling:’ * While Coltrane was not the first to explore and employ the multiplicity of scales that com prised the vocabulary, probably no other jazz player has so consistently } and diligently examined and re-examined them in search of the truths they might yield. It is perhaps this feeling of relentless searching more than any other trail thal allracted his many disciples to him, 4, Employing more sophisticated linking devices (lunarounds, cycles, patterns, formulae) John Coltrane was largely responsible for many of the changes in altitude vis-a-vis mythin, He helped to change the basic unit of the jazz + solo Irom eighth notes to sixteenth notes. Uneven or asymmetrical phrases, including 7, 9, 11, 13, 17, note groupings quickly became standard primarily because of John Coltrane (example 2). mn DPrpree Coltrane's approach to melody, harmonic timbre and fhythm forced the rhythm sections which accompanied him to reassess their function and positions. Much as the music of Charlie Parker had necessitated a completely different kind of rhythmic base so it was with the music of Coltrane, The long musical excursions (sometiqnes 45 minyles or more), the explorations al both ends of the instrument, the complex almost * arhythmic phrases and runs, the sometimes unorthodox use of space, the implied pedal points, the multi-leveled solo constructions, the elentless drive, all contributed to a musical situation in which the rhythm ‘section could no longer be content with just an accompanying role. Total musical involvement with all instruments being relatively equal and con- Aributing equally to the flow of the music was one of the results. Elvin Jones (Orums), McCoy Tyner (Piano), and Jimmy Garrison (Bass) were, primarily because of their musical discoveries with Coltrane, to serve as the models for future jazz rhythm players.Cw As a saxophone player, Coltrane expanded the saxophone’s tonal and {echnical resources and, by extension, the emotional scope. His explorations with mulliphonics (playing two or more notes simultaneously ona single line instrument), the extreme registers, unusual timbral and color possibilities (i.e., alternate fingerings used for their sound altering possibilities, harmonics, overtone series effects, different means ol altering the sound via breath, mouthpiece placement, reed strength, articulation, sound for the sake of sound) were of high specificity for the saxophonist but pointed to similar possibilities for other instruments as well Coltrane, virtually singlehandedly, brought the soprano sax to unprecedented popularity. “Thal instrument, rarely used successtully by modern jazz men, gained a new quality in Coltrane's hands that Pete Welding described as ‘Sinuous and Serpentine: " employing ““a pinched, high pitched near-human cry of anguish that is most effective. . . he used a device thal sends chills along my spine. He seems to be playing a slithering, Coruscating melody line over a constant drone note” * Its possible that Coltrane's bringing to popularity of the soprano sax has opened the door for the acceptance of other instruments, normally thought to be outside of jazz" purview John Coltrane's brief career was one of constant evolution and the innovations of each period of his development have had ramifications for the playingao virtually every contemporary jazz player * Leonard Feather, Encyclopedia of Jaz2 in the Sixties (Bonanza, a division of Crowe Pudjshers, Ine ‘by arrangement with Horizon Press, 1966), p. 99. 1( o 12 ” Coltrane’s Periodization Colirane first began to gain prominence during his tenure (1955-1960) with the Miles Davis Band. Of his many recorded performances with Miles Davis, two seem particularly prophetic — Straight No Chaser and Milestones — Straight No Chaser because of the unmistakable coming to {ruition of his famous “Sheets of Sound” style and Milestones because of the emergence of the infant modal school of playing In 1960 Coltrane formed his own quartet and that year he also found a modicum of public acceplance with his Atlantic album My Favorite Things. During the ensuing years his playing underwent many important changes and his sphere of inlluence widened appreciably — his influence is felt in the sound of virtually every jazz voice today. Coltrane’s mature career falls roughly into three overlapping periods |, Vertical or Change Running Period. This period is represented by albums such as Giant Steps (Atlantic 1311), Blue Trane (Blue Note BLP 1577), Trane's Reign (Prestige 7746), Cannonball Adderley Quintet in Chicago (Mercury 20449), Miles Davis — Jazz Track (Columbia 1268). This period was characterized by a decided propensity for tunes with a super abundance of changes, simple tunes made complex by sophisticated systems (often evolved by Coltrane) of substitutions, so- called “sheets of sound” playing in which Coltrane employed sixteenth, thirly-second notes, asymmetrical phrases, cascading runs in seeming attempts to exhaust the realization possibililies of any given harmonic situation. Often in a given situation Coltrane would nol only try to play all of the scale alternatives to a given chord, but also to add substitutions plus their scales ad infinitum, all of this in a very short span ot time. ll, Modal Period. This period is represented by sugh albums as My Favorite Things (Atlantic 1361), Ole Coltrane (Atlantic 1373), Crescent (impulse 66), Coltrane Plays Chim Chim Cher-ee, (Impulse 85), Alrica/ Brass (Impulse 6), Impressions (Impulse 42) This period is also characterized by a predilection|for modal com- positions (lunes based on few chords, or scales or tunes which can be horizontalized e.g., “Summertime: “My Favorite Things"). During this period Coltrane often played lengthy improvisations based on a mode or modes rather than on chords. During this period he also began to re-examine in depth the blues (a tune type thal is most atten treated in a modal or horizontal fashion). His albums trom the period include one album of just blues (Coltvane Blues, Allantic 1382) and a couple of albums of ballads. The fact that the chords move much more slowly allowed Coltrane to apply a modal approach here, too,Ill, Experimental Period. This period is represented by such albums as A Love Supreme (Impulse 77), Ascension (Impulse 96), Expression (impulse AS91), Cosmic Music (Impulse 9148), Live in Seattie (Impulse AS9202-2), Interstellar Space (Impulse 9277) This period found ‘Trane experimenting on many levels. He €xperimented more and more with the instrumentation of his groups, al limes using two bassists, two drummers, additional saxophones, ele, He Coaimened with what George Russell (and others) call panmodality (laying freely through @ multiplicity of keys or modes). Playing without predetermined structures was another area of exploration, but perhaps his most truitlul experimentations were in the areas of sound of timbral explorations via the use of extreme registers, mulliphonics (Iwo or more holes sounding simultaneously on an instrument normally thought of « Fapable Ot Producing only single lines, e.9., trumpet, saxophone), harmonies (overtones of the instrument usually lighier in sound and ofteg difficult Jo produce), alternate fingerings (different combinations o valves o1 Keys Tor producing the same tone — the timbre and pitch are usually altered as a resull of the different choices), varied methods of sound Production, ete |COLEMAN HAWKINS LESTER YOUNG BEN WEBSTER DON BYAS JIMMY OLIVER, DEXTER GORDON ce” CHARLES. PARKER SONNY sTnT Cw Coltrane Genealogy . JOHN COLTRANE BENNY GOLSON CHARLES LLOYD WAYNE SHORTER JOE HENDERSON PHAROAH SANDERS DAVID YOUNG STEVE GROSSMAN DAVID LIEBMAN MICHAEL BRECKER BENNY MAUPIN Virtually every contemporary ‘Saxophonist Virtually every contemporary improvising jazz musicianJOHN COLTRANE PREFERRED TUNE TYPES 1. Blues ~ Regular blues; blues with a bridge, particularly a rhythm bridge or chromatic bridge: blues altered via pedal points (e.g Qahomey Dance), Mill like blues, (@.9., Mr. P.C., Cousin Mary, minor blues, etc.) 2. Ballads — conventional | Want to Talk About You, standard ballads altered via the Coltrane changes, (¢.g., Body and Soul, originals often of an exotic nature (e.g., Wise One, Spiritual, jazz ballads (e.9., Round Midnight, Ruby My Dear). 3. Standards — Usually pop type tunes made more interesting via substitutions, modal treatment, extended tags, rhythmic additions ete Tunes such as Green Dolphin Street, Bye Bye Blackbird, Stella by Starlight, Little Old Lady, and You Leave Me Breathless 4. Modal — modal tunes of every variely, e.g. two or three chord pieces, pan modal pieces, one chord vamp pieces, ec. Tunes such as Impressions, Spiritual, My Favorite Things, and Ole 5. Jazz originals — particularly the tunes of established gomposers such as Monk, Miles, Dizzy, Charlie Parker, Tadd gamers and, of course, his own originals. (Including a great number of Bebop tynes). Preferred Tempos — Coltrane runs the gamut from nan-tempoed cédenza like explorations to tempos so fast thal they tax the imagination The greater body of his output falls in “groove” middle {o fast tempos. He has a penchant for double timing even at ektiamely fag! tempos More olten than not, the double time is extended rather than in spurts. He rarely uses hall time, although long noles placed strategically in the con- lex! of his lines figure quite prominently except at the fastest tempos assymetrical groupings comprise a large part of his rhythmic make up. (Ue., 9's, 11's, 13's, 18's, etc). At fast tempo Coltrane's playing tends to be reiterative, that is reinlorcing the basic pulse. (Also, at faster tempos, as could be expected, his playing moves essentially in 6th notes.) At middle to ballad tempos his playing is by anu large non-reiterative, that is, moving essentially in contlict with the basic pulse Some of his rhythmic cliches are: 1 OCereeer 2 COPCEr cer cer 3. Along note preceded by a melismatic runi.e., KELL EELES f roopr opr cor Ds. Teer eer ceereeer!erereeer 6. of terecer 8. Diatonic passages preceeded by an arpeggialed triplet ot Cf or corr Creer onan TE16 ” Preferred meters — 4/4, 3/4 /618 suspended meter, and “ non-mettic preterred keys — Bb, Eb and F Major are about equal in “Trane's recorded output. Of the minor keys C minor and F minor have the edge Scale preferences Major (and derivatives) diminished u Lydian dominant diminished whole tone whole tone (as a linking scale) pentatonic | blues chromatic 3 seventh scale : wine examples studied Coltrane almost always uses the ascending melodic minor on the minor 7th (I)chord. ‘The diminished scale is used more often in the blues and rhythm than in other tunes. ‘The pentatonic and whole tone scale became more prominent Wor) around 1961, Chiomaticism is pervasive in his playing. Whatever scales are employed, ‘Trane makes extensive use of atpeggiated figures and tie cand four note scalar cells (e.g., 1231, 1294, 1235, ele). these ee ae usually used permutationally. ‘Trane showed a penchant of ( Starting his Blues solos 2 1, particulary in ne key of Eb. See citierent ver~ w sions of Blue Train ! : Hig melodies range tor diatonic bebop eighth note lines 10 ihe plaintive spirituat-like lines of Wise One, Spiritual, and Lonniés Lament Fe latter ave very expressive and folklike. As Coltrane became moln A vvved with pentatonic scales he gravilated toward quartal cons\ucline (ecales and chords buill in 4ths). In his experimental period very often sound exploration replaces melody per se Coltrane seldom used quotes except from his own compositions ang other bebop tunes. (An exception is his fondness for “Bushel and A Peck"). a ua i Na a a TS TF YES TORRES VP Tae)” (LEW TTP CIR Eg TET Eee ee Harmonic Considerations During his “change running” period Coltrane employed most of the harmonic devices of his contemporaries, 1! V7 patterns of the bebop era (see examples), turnarounds and other formula. His use of substitution was limited to the tritone, i.¢., Omi G7 = ‘Abmi Db7 and the minor 3rd substitution, i.e., < pm G7 = Fmi? — Bb7 or Bmi7 7 ‘The striking exception to this was aniatricate system devised Dy him and known later as the Coltrane substitutions, |-€., Dmi7 . a7 | CMT cM? (See special I1V7 1) pmi7 eb7 | Ab B7 | E G7] — resolve Vp step resolve min 3rd resolve min 3rd ‘as with melodies, chromaticism plays an important pail Goltranes approach to harmony, particularly in situations such as the following: Emi7 Bo? omiz \a7 substitute Fmi? Bb7 | Emi7 AT | Ebmi7 ‘Ab7 | Omi7 G7 Range and tessitura — Trane continually used the enlire'range of the tenor from the low Bb to an octave or more abovg the textbook written rage Dramatic Devices Vibrato (intense, narrow and minimal) Slurs, rips. glissando in protusion, especially in medium to slow pieces "Aniculation varied (rom medium to slow tempo Dut predictable and reguiar SJ) ST I2_ at taster tempos: Alternate fingering — becomes more important a “Trane's style edohws intone in which sound becomes its own raison d'etre. Marmonics — This area is one of ‘Trane's most explored. particularly his use of multiphonics. (producing {wo oF ‘more notes Bimultaneously on a single line instrument) S18 i Alternate fingerings (vent, false, overtone) had already begun to assume a place of prominence as early as the swing era| particularly in the playing of Lester Young (Listen to "Afterjoon of a Basie-ite”. take 1. Lester's fourth chorus on the album Lester Young, Mercury 6336-346). in the post-bebop era John Coltrane, perhaps more than any other saxophonist, was largely responsible for daring innovative approaches to the use of these fingerings. These alternate fingerings serve a multiplicity of purposes, among them the following: | 4. improved intonation 2. timbral changes 3. creating tension 4, playing multiphonics 5. providing a means of accenting certain notes 6. playing repeated note patterns 7. providing a marvelous start/stop quality to a melodic line Coltrane's unique use of alternate fingerings is one of his most itated traits. See the following examples, which are excerpts from Impressions” transcribed from a Swedish bootleg album (lingerings suggested by Terry Cook)John Coltrane : “IMPRESSIONS ( excerpts) Fingenings suggested by Terry Cook TTbe FFF — = — abe SSS =e [ Ej = xe22 Pertormance Practice Up to his experimental period there seems to be no fixed plan such @ as simple to complex or complex lo simple inthe development of his im provsalions, Vertical tunes tend tobe Ireated vericaly; thai, he uses Chord running pators or seals of high specifiy to realize the chord changes. ‘Trane rarely uses a thematic relerential, except i mpdal tunes or occasionally in ballads, ' Modal lunes are usually treated in a {ree horizontal fashion; that is, bombarding a particular chord area with a mullipligiy of different scaies: e.g. a 8 colored with: D ascending melodic minor . Gdiminishea G diminished whole tone G Lydian dominant various pentatonics, ete 1 Coltrane often uses sequence, repetition and permutation as the means of developing the four and five note cells which often comprise the raw material out of which his solos are constructed. (e.9., Chasin’ the w& Trane, My Favorite Things, Impressions, A Love Supreme, etc.) Fragmentation and the use of double time also figure prominently in Coltrane's developmental procedures, t As with many other jazz musicians Coltrane very often started his, solos with a restatement of the last phrase of the preceeding player. This . habit is particularly observable in his playing with the Miles Davis Groups. (On standasds Coltrane often began his solos with a reterence to the melody and then followed in a very general way the tunes shape. (This he could well have learned {rom Miles who uses the technique in exemplary fashion) Coltrane The Composer As with many other jazz musicians John Coltrane's compositions are in many respects crystalzalion and ‘codification of his improvisational beliels. Studying his compositions can provide us with valuable Insights into the workings of his irnprovisational mind. The following chart pur- ports to generalize aboul some of the essentials in Coltrane's Compositional sive 1. Blues Pieces w 1. Usually adhere to the blues form with slight alterations — Dahomey Dance or the addition of a bridge Bass Blues or some such ther sight medication 2, Most are sill type tunes (bull on short repetitious, motives or sequences), such as Mr. P.C., Traneing In, Bessies Blues, Blue Train, Cousin Mary, and Dahomey Dance. Many of the tunes use the pentatoni¢ or blues scale exclusively 3. He seems to show a preference for Bb Major and Eb Major for his blues 4. He always manages to somehow personalize the blues through the use of some unexpected twists Ml. Ballads 1. Usually extcemely iyrieal, often with unpredictable melodie con- tours. 2. Unusual forms (i.2., AB, AKBCAD, forms which include caden- zas as wel as tempo changes) 3. Changes of the highest specificity with cegard to harmonic alter 1, bassline, chord voicing and inversion, ete 4. Sections of many of the ballads employ a pedal point. 5. Maty harmonies which move in minor of major 3rds. 6, Melodies also feature a high incidence of pr 3tds. |23 Il. ¢ Other Tunes : ~ 1. Often extended or noncontorming structures: €.9.., Moments Notice A-Avamp-break Giant Steps Through composed India Through composed 2. Extensive use of pedal points; e.g., Moments Notice, Love Supreme, Spiritual, Blue Train, Liberia, Equinox, Filth House, Dahomey Dance, Syeedas Song Flute. 3. Extremely vertical (changes often move at, the same rate of speed as the melody); e.g., Giant Steps, Count Down, Fifth \House, Moments Notice, Central Park West. 4. Horizontal — Impressions, The Promise, Afro Blue, Miles Mode. 5. Many tunes based on extant changes but altered in one way or another. E.9., Countdown based on Tune Up Fifth House based on What is This Thing Called Love Impressions based on So What 6. Many of the tunes virtuosic and etude-like. E.g., Miles Mode, Giant Steps, Countdown, Lazy Bird, Moments Notice 7. Many tunes that feature cadenzas, out of meter sections, free sections, simultaneous instrumental improvisation, etc 8. Many minor tunes Equinox Afro Blue * Mr. P.C. Cousin Mary Spiritual Blues Minor Impressions Miles Mode The Promise Wise One Some General Observations About Melody 1, Much use of minor and major third intervals. 2. Extensive use of sequence in virtually every tune. 3. Ollen simple rhythms and long valued notes. ~ 4, Juxtaposition of simple lines over complex harmonies.© Attica Adio Blue After the Rain Alabama - A Love Supreme Part! Acknowledgement MI Resolution WW Pursuance WV Psaim Amen Ascension Ascent Attaining The Believer wy Bessies Blues Big Nick Blue Train Blues Minor Blugs to Bechet Blues 10 Elvin Blues to You Boss Blues Brazitia By the Numbers Central Park West Chasin’ the Trane Chronic Blues ‘Compassion Consequences Cousin Mary Count Down Cosmos, ew Crescent Dahomey Dance Dear Lord Dearly Beloved The Drum Thing Equinox Evolution Expression Filth House The Father, and the Son and the Holy Ghost Fifth House Giant Steps Goldsboro Express Grand Central Harmonique Impression India Just for Love Kulu se Mamu Lazy Bird Leo Liberia Like Sonny Locomotion Lonnie’s Lament Love Manitestation Mary's Blues Meditation Miles Mode Moments Notice Mr. Day Mr. Knight Mr. P.C. Mr. Syms. Naima Nita Oltering Ole Ogunde One Down One Up om PeaceonEarth The Promise Original Compositions by John Coltrane Reverend king Satellite Selllessness Serenity Shape Slow Dance Slow Trane Some Other Blues Song of Praise Soultrane Spiral Spiritual Suite Prayer and Meditation Day Peace and After Prayer and Meditation Evening Alfirmation Prayer and Meditation 4AM Sunship Straight Street Syeeda's Song Flute To Be Traneing in Tranes Blues Trane's Siow Blues Trane's Strain Transition Tunji Up Against the Wal Vigil Villa Village Blues Wabash Welcome Wise One Your LadyJOHN COLTRANE A SELECTED BIBLIOGRAPHY _ Abou! John Coltrane (as viewed by Bob Thiele)" Jazz, 1960, p.22 Betendt, Joachim E. The New Jazz Book — A Historical Guide. New York: Hill & Wang, 1959. Berger, D. “John Coltrane’’ Jazz Hot, August 1967, p.5. Black Nationalism and the Revolution in Music: Social Change and Stylistic Development in The Art of John Coltrane and Others. 1964 —= 1997. 968 ages. Blume, A. “An Interview with John Coltrane’ Jazz Review, January 1959, p. 25. Caino, Z. “The Siyle of John Coltrane’ Jazz Review October 1959, pp. 17-21, November 1959, pp. 13-17, Clar, M. “John Coltrane: Soultrane’* Jazz Review, April 1959, p. 24 Cote, Wiliam S. John Coltrane, Schirmer Books, A Divison ot Macmillan Publishing Co., Inc. New York Cele, williams S. “John Coltrane and Sonny Rolling: What Else Is There to Say?" University of Pittsburgh, 1970. Cole, Wiliam S. “The Style of John Coltrane, 1955 — 196 Wesleyan University Goleman, A. “Coltrane” Melody Maker, July 11, 1964, p. 6 Colane, J. and DeMichael, O. “Coltrane on Coltrane” down beat, September 29, 1960. pp. 26-27. “ohn Coltrane’'Jazz and Pop, September 1967, p. 26 ‘ohn Coltrane 1926-1967" Jazz Magazine, August 1967, pp. 16:28 Corel ©. "The Soprano Saxophone: Fom Bechet to Colirane to Sho: ter" down beat, July 20, 1972, pp. 14-15, Corde, O. “Coltrane: Melody Maker, October 18, 1966, p. 8, Cordle, 0. “Vd like to play your clubs: interview with John Coltrane” Melody Maker, November 25, 1961, p.8 Demichacl, D. “John Coltrane & Erie Dolphy answer the Jazz Critics" down beat, April 12, 1967, pp. 20-23. Gibson. M. “John Coltrane: the formative years" Jazz Journal, June 1960, pp, 940. Giller, | “Trane on the Track" down beat, October 16, 1958, pp. 16-17. Heckman, D. “Alter Coltrane’ down beat, March 1, 1967, Pp. 18-19, Hennessey, M. “Coltrane: Dropping the Ball & Chain From Jaze ‘Melody Maker, August 14, 1965. p. 6. Hentotl, Nat. Jazz /s, N.Y. Ridge Press, Random House, 1976 Hentoll. Nat. “John Coltrane: Challenge Without End” International Musician, March 1962, pp, 12-13, j Hommage a John Coltrane’ Jazz Magazine, September 1967, Pp. 12-16. Hultin, Randi. "| Remember Trane;* down beat, Music 1968. Hunt. D.C. “Coleman, Coltrane & Shepp: the Need lor an Educated Audience: azz & Pop, October 1968, pp. 18-21. Jepsen, J.G. “John Coltrane: A Complete Discography: down beat Music 1 Jepsen. 4.G. A Discography of John Coltrane. Denmark: Kal Emil Kouaen, 1969, 1 ones, L. “AColirane Trilogy" Metro, December 1961, pp. 34:36 “ones, LeRoi. Black Music. New York: Willam Morrow & Co.. Ine, +1967. Ph.0. 1975 25( j i ” Kart, L. “The Coltrane Legacy: down beat, May 13, 1971, p. 22 Kofsky, Frank, Black Nationalism and the Revolution in Music. New York: Pathfinder Press, 1970. Kotsky, Frank. “Brief Interview with John Coltrane’* Jazz &"Pop, March 1968, pp. 22-23, Kofsky, Frank, “John Coltrane’ Jazz & Pop, September 1967, pp. 23-31 Kofsky, Frank. “John Coltrane and the Jazz Revolution:| the Case of Albert Ayler’' Jazz, 1960, pp. 24-25 n9; pp. 20-22 n10. Kolsky, Frank. “A Note on Jazz Rhythm’ Jazz, January 1967, pp. 16-17. Kolsky, Frank, “Revolution, Coltrane, and the Avant-Garde'’ Jazz, 1965, pp. 13:16 n7; pp. 18-22 nB Kopulos, G. “John Coltrane: Retrospective Prospective!’ down beat, July 22, 1971. pp. 14-15. Korall, 8. “t've Talked Enough: Interview with Sonny Rollins, John Coltrane & ‘Ornette Coleman’ Melody Maker, September 15, 1962, pp. 8-9. Korall, 8. “Consider Coltrane."* Jazz, February 1963, p. 7 Morgenstern, D. “Jazz People,’ N.Y.: Harry N. Abrams, Inc., 1976. Morgenstern, D. “Moder Reeds — and how they grew: down beat, May 14, 1989, p.17 Reisner, R.G. The Jaze Titans. Garden City, N.Y. : Doubleday, 1960. Rivelli, P, “Alice Coltrane (interview):" Jazz & Pop, September 1968, pp. 26-30. Rivell, P. "John Coltrane 1926-1967; Nation, August 14, 1967, pp. 119-120. Rivelli, P, “Small Band Jazz’* New Republic, August 17, 1968, pp. 40-41 Rivelli, P. “Trane & 7 = a Wild Night al the Gate:* down beat, December 30, 1965, p.1. Simpkins, Cuthbert Ormond, Coltrane, A Biography, Herndon House Publishers Suite 2-D, 549 Riverside Drive, N.¥., N.Y. 10027 Walker, M. “John Coltrane (discography):" Jazz Monthly, August 1966. pp. 11-13; September 1966, pp, 30:31; October 1966, pp. 23-24, November 1966, pp. 29-31 Williams, M. "The Bystander” down beat, May 10, 1962, p. 39. Williarns, M. “Coltrane, Coleman up to Date (recordings) 1966, pp. 4-5. q Williams, M. “John Coltrane: Man in the Middle:* down beat, December 14, 1967, pp. 15:17. Williams, M. “Coltrane Triumphant (recordings):’ Saturday Review, January 16, 1965, pp. 73-74 Williams, M. "Coltrane Up to Date” Saturday Review, April 30, 1966, p. 67. Williams, M. Jazz Masters in Transition, 1957-1969. London: Macmillan Co. Collier-Macmitian Limited, 1970. Williams, M. The Jazz Tradition. New York: Oxford University Press, 1970. Williams, M. “Legacy of John Coltrane’* Saturday Review, September 16, 1967, p. 69. Wilmer, Valerie, Jazz People. London: Alison & Busby, 1970. Wilmer, Valerie, “Conversation with Coltrane’ Jazz Joyrnal, January 1962;, pp. 1-2. | Wilmer, Valerie. “When You Lose an ‘Eidel Brother’ (interview with McCoy Tyner). Melody Maker, August 19, 1967. p. 8. Wilson, John S. Jazz’ The Transition Years 1940-1960, New York: Appleton Century Crofts Division of Heredity Publishing Co.. 1966. Jazz, Novemberpets And Two Tenors A Blowing Session Thelonious Monk With John Coltrane. Mal Waldron Sextet John Coltrane — Dakar John Coltrane — Paul Quinichette Quintet Coltrane Plays For Lovers. John Coltrane —- The First Trane John Coltrane — Lush Life Thelonious Monk — Monk's Music. John Coltrane — Traneing In John Coltrane ~ Blue Train... Prestige All Stars — Wheelin’ And Dealin’ . Sonny Clark — Sonny's Crib , : Winners Circle . : Red Garland — All Morning Long. . Red Garland — Soul Junction Red Garland — High Pressure Red Garland — Dig It The Ray Draper Quintet Feat a Gene Ammons And His All Stars — Gene Ammions And His All Stars — John Coltrane — The Believer. John Coltrane — The Last Trane John Coltrane — Soultrane ..., Kenny Burrell — John Coltrane . Wilbur Harden Quintet. .... John Coltrane — Trane's Reign Miles Davis — Milestones turing John Coltrane |. Groove Blues The Big Sound... SET ee rere Re reper: A SELECTED DISCOGRAPHY Dizzy Gillespie and His Orchestra Dizzy Gillespie Sextet Earl Bostic and His Orchestra Johnny Hodges and His Orchestra Used To Be Duke . ‘The NeW Miles Davis Quintet Paul Chambers — Jazz In Transition Paul Chambers. John Coltrane With Hank Mobley — Two Tenors Miles Davis — Cook Miles Davis — Relaxin" Miles Davis And The Modern Jazz Giants Miles Davis — Workin’ Miles Davis Plays Jazz Classics Miles Davis — Steamin*® Miles Davis And John Coll Richard Rodgers Sonny Rollins — Tenor Madness Leonard Bernstein — What Is Jazz? Miles Davis — ‘Round About Midnight. Four Tenor Saxes — Tenor Conclave Paul Chambers — Whims Of Chambers. Tadd Dameron — Mating Call Interplay For Two Trum, Johnny Griffin — Capitol $7797 DeeGee 3600 King 4356 Verve 8150 Prestige 7254 Transition 30 Jazz West 7 Prestige 7670 Prestige 7094 Prestige 7129 Prestige 7150 Prestige 7166 Prestige 7373 Prestige 7500, Prestige 7322 Prestige 7657 -Columbia 919 «Columbia 949 Presligo 7249 Blue Note 1534 Prestige 7745 Prestige 7341 Blue Note 1559 Jazzland 46 New Jazz 6217, Prestige 7341 Prestige 7280 Prestige 7158 Prestigo 7426 «+ Prestige 7609 «= Prestige 7581 «Riverside 3004 Prestige 7651 «Blue Note 1577 Prestige 8327 Blue Note 1576 - Bethlehem 6024 Prestige 7130 «Prestige 7130 «Prestige 7209 «Prestige 7229 = New Jazz 8228 «Bethlehem 6027 | Prestige 7201 Prestige 7132 + -Prestiga 7292 Prestige 7378 | Prestige 7531 New Jazz 8276 «Savoy 12127 = Prestige 7746 + Columbia 1193, rye eermpete 1/9750 3rsst 4/15/52 asisa 10/27/55 11/155 31-156 8/7/56 10/26/56 5/11/56 10/26/56 10/26/58 10/26/56 10/26/56 5/11/56 5/24/56 9/10/56 9/10/56 9/7156 9/21/56 11/30/56 3/22/87 4/6/57 6/26/87 4/18/57 SuN7/57 4120157 4/NTIST 8/23/57 8/31/87 1710/58 6/26/57 9/23/57 9/15/57 9/20/87 10/9/57 101-157 318/57 1/18/57 rapes mi ve wah sue28 a” John Coltrane — Black Pearis. Miles Davis — Jazz Track ........ Michel Legrand — Legrand Jazz. Miles Davis — Miles And Monk At Newport John Coltrane — Stardust John Coltrane — Standard Coltrane (same as The Master), John Coltrane — Bahia Wilbur Harden — Jazz Way Out Wilbur Harden — Tanganyika Strut George Russell — New York, N.Y. John Coltrane — Coltrane Time Ray Draper — A Tuba Jazz Bags And Trane Cannonball Adderley Quintet In Chicago. Miles Davis — Kind Of Blue John Coltrane — Giant Steps Three Giants . John Coltrane — Coltrane Jazz Echoes Of An Era : . John Coltrane And Don Cherry — The Avant-Garde John Coltrane — My Favorite Things ., Jotin Coltrane ~ Coltrane Plays The Blues John Coltrane — Coltrane's Sound John Coltrane — The Coltrane Legacy The Best Of John Coltrane The Art Of John Coltrane — The Atlantic Years Miles Davis — Someday My Prince Will Come. John Coltrane — Atrica/Brass. John Coltrane — Ole Coltrane John Coltrane — Coltrane “Live” At The Village Vanguard John Coltrane — Impressions... Definitive Jazz Scene John Coltrane Quartet... John Coltrane — Coltrane John Coltrane — Ballads Duke Ellington And John Coltrane John Coltrane With Johnny Hartman Selflessness — John Coltrane John Coltrane — Coltrane “Live” At Birdland John Coltrane — Crescent John Coltrane — A Love Supreme ce The John Coltrane Quartet Plays ne ‘The New Wave In Jazz . cekad John Coltrane — Kulu Se Mama John Coltrane — Ascension New Thing At Newport : John Coltrane — Transition... John Coltrane — Sun Ship John Coltrane — Infinity John Coltrane — Live In Seattle John Coltrane — OM John Coltrane — Meditations John Coltrane — Cosmic Music John Coltrane — “Live” At The Village Vanguard Again ... Prestige 7316 -Columbia 1268 Cumbia 8079 Calumbia 6978 «Prestige 7268, Prestige 7243 «Prestige 7825 Prestige 7353 Savoy 13004 Savoy 13005 Decca9216 United Artists 5638 Jubilee 1090 Allantic 1368 Mercury 20449 Columbia 8163 Allantic 1911 Trips038 Atlantic 1354 Roulette RE-120, -Allantic 1451 Allantic 1361 Alluntic 1382 Allantic 1419 Allantic 1853 Allantic 1541 Allantic 2-313, Columbia 8456 Impulse 6 Allantic 1373 Impulse 10 Impulse 42 - Impulse 9101 Impulse 203, «Impulse 21 Impulse 32 lunpuise 30 Impulse 40, Impulse 9161 Impulse 50 Impulse 66 mgulse 77 « lmgulse 85 Impulse 90 «Impulse 9106 Impulse 95 Impulse 94 Impulse 9195 impulse 9211 - Impulse 9225 Impulse 9202-2 Impulse 9140 Impulse 9110, Impulse 9148, Impulse 9124 9/23/58 5/26/58 6/25/58 713/88 12/26/58 7111/58 12/26/58 8/18/58 8/25/58 9/12/58 10/13/58 117-158 1/18/59 2/3/59 4/22/59 12/2/59 1960 10/21/60 1960 71-160 10/24/60 10/24/60 10/26/60 9/25/61 3/21/61 6/7/61 5/25/61 11/23/61 4/29/63, 3/6/63, 12721761 6/29/62 11/13/62 9/26/62 316/63, 101-165 11/18/63 6r1/64 12/9/64 2117/65 3/28/65 101-165 6/27/65 72165 6/155 _ 8/26/65 212188 9730/65, is6s 19723165 2/2188 5/28/6629 y John Coltrane — Concert In Japan . . - Impulse 9246-2 7122/68 John Coltrane — Expression Impulse 9120 307167 Tho Bost Of John Coltrane Vol. 1 : Impulse 9200-2 The Best Of John Coltrane Vol. 2 : Impulse 9223-2 The Best Of John Coltrane Vol. 3 : Impulse 9270-2 John Coltrane — Africa/Brass Vol. 1 Impulse 9273 John Cgitrane — Interstellar Space Impulse 9277 2122/6 John Coltrane Live in Paris (2 records) BYG Yx 4001-2 Coltranology Vol. 1 . YG yx 008 - Coltranology Vol. 2 BYG Yx 8007 Dynamic Duo-John Coltrane And Eric Dolphy Ozone 10 ~ John Coltrane — Alternate Takes Allantic $0168 Jazz At The Plaza Vol. 1 The Miles Davis Sextet Columbia PC32470 1958 AVAILABLE TRANSCRIBED SOLOS. Jazz Solos Blues to You Slue Tai Count Down Giant Steps Lover i ‘Moments Notice My Shining Hour leo The Promise | : Tadd's Detight , | fune Up | Straight No Chaser t, David “John Coltane’s “Giant Steps" solo and Composition’ dawn beat, July ort vl w Caino, Zita. “The Style of John Colttane” Jazz Aaviow, Octobe: 1959, Pages 17-41; Noveinbor 1959, pages 1217 i : Straight No Chaser ( Locomotion (tag only) ‘ Blue Train I excorpls (torn: 3 Russian Lullaby - Joha Paui ones . Heador Melody oniy : Straight Steet. i : Homents Notice { : \while My Lady Sleeps . ! Siar 3yee : John Qattrang: Bill Cole, net Books, A division of ivacrnillan Publishing Co., Inc., 866 Third Ava. N-¥..N.Y, 10022 Excerpts trom many pieces (usually two to four measures). | 2 tear ye reper es erg aee30 Vol Vol. Vol fr Vol. Vol. Vol Vol. Vol. Vol. Vol Vol. Vol Vol. *Vol Vol Vol Vol Vol Vol Vol Vol Vol Vol Vol. 3 ANDREW WHITE TRANSCRIPTIONS 1 No. 1 — The New Miles Davis Quintet (Prestige LP7014) Just Squeeze Me, How Am | To Know?, Sposin’, The Thema, Stablemates, 1 No, 2 — Two Tenors (Prestige LP7043, PA7670) Weeia, On It, Avalon. 1 No. 3 — Cookin’ With The Miles Davis Quintet (Prestige LP7094, R24001) Blues By Five, Airegin, Tune Up, When Lights Are Low. 1 No, 4 — Coltrane (Prestige LP7105, PR7609, PR24014) Bakai, Violets For Your Furs, Time Was, Straight Street, While My Lady Sleeps, Chronic Blues. 1 No, 5 — Mal-2 (Prestige LP7111, LP7341) From This Moment On, J.M.'s Dream Doll, The Way You Look Tonight, One By One, ant Explain, Poipours 1 No. 6 — Traneing in (Prestige LP7123, PA24003) Traneing In, Siow Dance, Bass Blues, You Leave Me Breathless (2 versions), Soft Lights and Sweet Music (2 versians). 1/No, 7 — All Mornin’ Long (Prestige LP7130) All Mornin’ Long, They Can't Take That Away From Me, Our Delight. 1 No. 8 — A Blowing Session (Blue Note LP1S59) The Way You Look Tonight, Balt Bearing, All The Things You Are, Smoke Stack 1'No. 9 — Whims of Chambers (Blue Note LP1534) Omicron, Nita, We Six, Just For the Love, 1 No. 10 — ‘Round Midnight (Columbia CL949) ‘Round Midnight, Ah-leu- cha, All Of You, Bye Bye Blackbird, Tadd’s Delight, Dear Ol ‘Stockholm, 2.No. 1 — Interplay (Prestige P7112, LP7341) Interplay, Anatomy, Light Bive. 2 No. 2 — Relaxin’ With The Miles Davis Quintet (Prestige LP7129, PR2400i) If] Were A Bell, You're My Everything, | Could Write A Book, Oleo, It Could Happen To You, Woodyn't You. i 2 No, 3 — Wheelin’ and Dealin’ (Prestige LP7131) Things Ain't What They 2.No, 4 — Soultrane (Prestige LP7142, PR24008) Good Bat, | Want To Talk ‘About You (2 versions). You Say You Care, Theme for Emnie, Russian Lullaby (2 versions). 2No, 5 —Cattin’ (Prestige LP7158) Cattin’, Sunday. Anatomy, Vodka 2'No. 6 — Workin’ with The Miles Davis Quintet (Prestige LP7166) Four, 1m Your Own Sweet Way, Trane's Blues, Hal Nelson. 2 No. 7 — The Cats (New Jaz 8217) (Prestige) Minor Mishap, Eclypso, Solacium, Torvny’s Time 2.No. 8 — Blue Train (Blue Nole LP1S77) Blue Train, Moment’s Notice, Locomotion, Lazy Bird. 2 No. 9 — Milestones (Columbia CL1193) Dr. Jekyll, Sid's Ahead, Two Bass Hit, Milestones, Straight, No Chaser. 2No. 10 —Giant Steps (Atlantic LP1311) Giant Steps, Cousin Mary, Count. down, Spiral (2 versions), Syeeda's Song Flute, Naima, Mr. P.C 3.No. 1 — Kind Of Blue (Columbia CL1955) So What, Freddie Freeloader, Blue and Green, Flamenco Sketches, All Blues. 3.No. 2 — Sonny's Crib (Blue Note LP1576) With A Song In Heart, Speak Low, Come Rain or Come Shine, Sonny's Crib, News for Lulu 3.No. 3 — My Favorite Things (Atlantic LP1361) My Favorite Things (2 versions), Everylime We Say Goodbye, Summertime, But Not for Me No, 4 — The Best of Birdland (Roulette R52094) Exotica One and Four (2 versions), Simple Like.ww EE CPPS TEE POT Tg ee poner poe Fe Vol. 3 No. 5 — Coltrane Time (United Artist UAJ14001, UAJS1S001, Solid State, $S18025) Shitting Down, Just Friends, Like Someone In Love, Doubie Ciutching Vol. 3 No. 6 — Someday My Prince Will Come (Columbia CS8456) Someday ‘My Prince Will Come, Teo. Vol. 3No. 7 ~ Black Pearls (Prestige PR7316) Black Pearls, Lover Come Back To Me, Sweet Saphire Blues. Vol.23 No. 8 — Miles and Monk at Newport (Columbia CL2178) An-leu-cha, ‘straight — No Chaser, Fran Dance, Two Bass Hit Vol, 8 No. 9 — Crescent (Impulse A-66) Crescent (2 versions), Wise One (2 Versions), Bessie's Blues (2 versions), Lonnie's Lament, The Drum Thing. Vol. 3No. 10 —A Love Supreme {impulse A-77) Acknowledgement (2 versions), Resolution (2 versions), Pursuance (2 versions), Psalm. Vol. 4 No. 1 — Mating Call (Prestige LP7745) Mating Cal, Gnid, Soultrane (2 versions). On A Misty Night, Romas, Super Jet. Vol. 4 No. 2 — Steamin’ with The Miles Davis Quintet (Prestige P7200) ‘Surrey with the Fringe on Top, Salt Peanuts, Diane, Well, You Needn't Vol. 4 No. 3 — The Last Trane (Prestige LP7378) Lover, Slowtrane (2 versions), By the Numbers, Come Rain or Come Shine Vol. 4 No. 4 — Jazz Track (Columbia CL1268) On Green Dolphin Street, Pul Your Lite Foot Right Out, Stella By Starlight Vol, 4 No. 5 — Thelonious Monk with John Coltrane (Jazzland JLP46) (River- ‘sido) Ruby. My Dear, Trinkle, Trinkle, Nutty, Epistrophy. Vol.“ No. 6 — Cannonball Adderley Quintet in Chicago (Mercury MG20449) ‘= Limehouse Blues, Wabash, Grand Central, You're A Weaver of Dreams, The Siooper. Vol. 4 No. 7 — Coltrane Jazz (Allantic LP1954) Litle Old Lady, Village Blues, My Shining Hour (2 versions), Fitin House (2 versions). Harmonigue, Like Sonny, I'l Wait and Pray, Some Other Blues Vol. 4 No. 8 — Coltrane Plays the Blues (Atlantic LP1382) Blues fo Elvin, Blues to Bachot, Bluas to You, Mr. Day (2 versions). Mr. Syms (2 versions), 4 Mr. Knight (2 versions) Vol. 4 No. 9 — Bags and Trane (Atlantic LP1368) Bags and Trane, Thee Little Words, The Night We Called It Day, Be-Bop, The Late Late Blugs. Vol. 4 No. 10 — Live at Birdland (Impulse AS-S0) Afro-Biue, ! Want to Talk About You, Cadenza, The Promise, Alabama, Your Lady. Vol. S No. 1 — Tenor Madness (Prestige LP7047) Tenor Madness. Vol. § No. 2— What Is Jazz? (Columbia CL919) Sweet Suc. i Vol. 5 No. 8 — Jazz Omnibus (Columbia CL1020) Budo. Vol. 5 No. 4 — The Big Sound (Prestige LP7132) The Real kicCoy (alto solo) Vol. 5 No. 5 — Miles Davis and The Modern Jazz Giants (Prestige PR7150) “ound Midnight. Vol. § No. 6 — The Coltrane Legacy (Atlantic LP1553) 26-2, Untitled Original, Centerpiece, Stairway to the Stars, Blues Legacy. Vol. § No. 7 — Coltrane's Sound (Atlantic LP1419) The Night has A Thousand Eyes (2 versions), Central Park West, Liberia (2 versions), Body and Soul, Equinox, Sattolit Vol. 5 No. 8 — Impressions (Impulse A-42) India, Up Against the Wall (2 versions), Impressions 2 versions), After the Rain Vol. 5 No.9 — The Definitive Jazz Scene (Impulse A-9101) Villa Vol. 5 No. 10 — Duke Ellington and John Coltrane (Impulse A-30) In A ‘Sentimental Mood, Take the Coltrane, Big Nick (2 versions), Stevie, My Little Brown Book, Angelicia (2 versions), The Feoling ol Jazz. 332 JAZZ IMPROVISATION John Coltrane Transcriptions ‘Transerptlons of John Catane’s Tenor Solos {Pooks ¢ and forall tatvumental mustlans supetised by Sadao Watanabe Japan) Nlenion PUDL Ine. ‘ranserptions in Concer Koy Book 1 — Blue Train (Blue Note BLP1577) Blue Train, Moment's Notice, Lazy Bird. w& Book 1 — Soul Trane (Prestige LP7141) Good Bail. Book 1 — Giant Stops (Allantic $D1311) Giant Steps, Cousin Mary, Mr. P.C Book 1 — Coltrane Jazz (Atlantic SD1354) Some Other Blues. Book 1 — My Favorite Things (Atlantic $0136) Everythime We Say Goodbye. j Book 1 — Coltrane Plays The Blues (Atlantic SO1362) Blues To You, Mr. Day. ~ Book 1 — Coltrane's Sound (Atlantic $01419) Central Park West, Liberia, Equinox | Book 1 ~ Ole (Atlantic $1973) Aisha | | Book 2 — Africia/Brass (Impulse A-6) Biues Minor Book 2 — Village Vanguard (Impulse A-10) Spiritual Book 2 — Impressions (Impulse A-42) Up ‘Gainst The Wall, Impressions. Book 2 — Coltrane (Impulse A-21) Soul Eyes, The Inch Worm,|Miles Mode Bock 2 — D. Ellington & J. Coltrane (Impulse’A-30) Take the Coltrane, Big 4 Nick Book 2 — Birdland (Impulse 4-50) Afro Blue, The Promise. Book 2 Crescent (Impulse A-66) Crescent, Wise One, Bessie’s Blues. Book 2 — Ballads (Impulse A32) You Don't Know What Love[s. & Book 2 — J. Coltrane & J. Hartman (Impulse A-40) My One and Only Love.a The musician should learn (memorize) the improvisation and play it with the record being careful to duplicate the time feel, inflections, vibrato, intensity, etc., as closely as possible. Next the player might take all of the II V7 patterns and transpose them to twelve keys varying tempo, jYolume, meter, register etc., until absolutely comfortable. Now the “player might conceivably realize all of the Il V7 situations in the tune being learned using one single pattern transposed to fit theiharmonie situation Next he should examine the various Scale and melodic patterns to ascer- tain haw the soloist uses them, then \anspose the pattern to all keys, again varying musical components such as tempo, meter, volume, etc. Next he should do the same thing with cycles, turnarounds, etc., moving then from the highly specific envionment of that particular composition i toa more generalized musical situation. sia . &34 & serie (L Title of composition: Albus: + Recording company: STYLES AND ANALYSIS FORMS Page z Date: : Leader or aideman: i Instrument: SAAULKEABRAAAMAAAKHRRKRRAASKRAAAARARRAAGAAAERMAAAAAAARARRKMAAAARARMMMAAAAREIE Tune type (circle one or-more): blues Jazz original © ballad bebop | modal Latin/Afro-Cuban/etc. standard other (specify) free ( Tenpo: - i j Key: . Dramatic devices (circle and describe): vibrato 4 articulation (specify): alternate fingerings i harmonica other (apect£y)+ We eosttura: Scale preferences (circle one or more): major (and derivatives) blues is whole tone pentatonic diminished chromatic diminished whole tone other (specify): lydian dominant : Prevailing ecale patterna: Recurrent patterns: (A) UI V7 Turnbacks cycles (B) Melodic patterns@ & (G) Rhythmic patterna io (D) Other formulae (I VI IL V; III VI Il V; half-step progressions,ctc.) ARRARAREAARASTARRARARADRAAARRAARTARARRARERARRARRARAARARRARRARRAR ARR AREA RARER BRFORMANCE PRACTICE ‘evelopmental techniques: simple to complex (cirele and describe) complex to simple single climax \ nany climaxes vertical : horfzontal | > chord referential 3 thenatic referential use of sequence/call and response vse of quotes (whet :and vhara) use of aubstitutions - rhythmic practices: double time half tine assymetrical groupings . reiterative non-reiterative describe relationship to the baatc time: pelody: folk-like blucay " i wide expressively babop narrow expransively quartal riff-1tke other (specify) DSAMAAAAAARAGAAAAARARAARAAAARAARABARRARAEAELG RARE RAR ARARAARARARSARATRAARAR ARE eneral Comsento: a EE ee ee een TE rr ICE epeeSTYLES AND ANALYSIS FORMS antist_John Coltrane Page Title of composition: Countdown Atbua: Giant Steps. Recording compan Atlantic LP 1311 pate: May 4-5, 1959 Leader or atdenan: Leader | Inatrusent: Tenor Saxophone AhAAAAARROARAARAAAAAARAARAAARAAARAABAAAAAIAARAAAAARAERRAARAARARAKARSEARAAREREAS © rune type (etrele one or more): blues | Gglngriginat) based on "Tune Uy ballad (bebop) ; modal in/Afro-Cuban/ete. standard other (specify), . free tenpo: J = Ga 168 key: D Major Concert (Tenor Key B Major) Dramatic devices (circle and deserter vibeats} minimal slure ips ares : CEreicslatiog) (specify): essentially slurs alternate fingerings w harmonics other (specify): Tessitura: entire range Scale preferences (circle one or nore): (major (and derivatives) blues whole tone pentatonic diminished chromatic diminished whole tone Lydian dominant Prevailing scale patterns: Recurrent patterns: (A) (ir v7)~See attached sheet Turnbacks 3 cycles (» (tote pattera)-see attached sheet@ @) ” (C) Rhythaic’ patterns Cc (D) Other formulae (I VI II V; III VI IL V; half-step progressions,ete.) See Coltrane substitutions neeceaeysnannnrnereenicnanennnatnnnengeseee ene feats eeeet PERFORMANCE PRACTICE | Developmental techniques both (circle and describe) ° ingle climax rorizontal | thematic referentaal i call and response Throughout voe of quotes (what and vhere) i use of substitutions rhythmic practices: double tine ” half time asaymetrical groupings won-reiterative describe relationship to the basic time: On top nelody: folk-Ltke blues de_exnresatvel: narrow expressively ‘quartal rift e other (specify). ANAAAAAAARARAGAAAAARAAAARAAAAIERARBARAARARRARAARARRARRRERARERARAERR MARR ARERR . gyGeneral Comment: In the manner of an etude. | &38 Atlontic LP 131) Jehn Coltrane : Countdown May 4:5, 1954 SSS © nu@ Peo cy pes fe tee treiete bebop detects bate ~ = sit i SEaSTYLES AND ANALYSIS FORMS | 43 Page Cle of composition: Straight No Chaser" Album: Milestones Recording company: Columbia LP 1193, CS 9428 Date: April 2, 1958 Leader or sideman: Sideman Instruzent: Tenor Saxophone LER AAO RIOR RAR RB ARSE RAR RR SRR rane type (etrele one or wore): » Ballac hsbop J modal Latin/Afro~Cuban/ete. standard other (apectty) free Tempo: d= cn 168 Key: Concert F (enor Key G) Drauatic devices (circle and describe) :(vibrato) ‘ [SEETESTSETEDYCereet6)+ ara alternate fingerings i other (epectfy): wy Tessitura: middle to high . § ple preferences (circle one or nore): (major (and derivative blues ‘ whole tone pentatonic chromatic Gthen) ify): Prevailing scale pattern Recurrent pattarns: (TT V7 )-see attached sheet cyeloo |“4 : @) i 9 (C) Rhythmic patterns ° (D) Other formulae (I vi II Vv; (GI vi IT V) Galfcatep progresstona)ete.) C (E)8-9 CA)E-B, (CIE-D, (D)i-5, + (G)11-12 (F)8-10, (H)8-9 IEE IO RIOR TORO AISI RIOR ATA RARER RAR ERA RRA RA RARE PERFORMANCE PRACTICE Developmental techniques: (simple to complex (circle and describe) complex to almple) Varied gle climax i jordzontal, i thematic referential use of sequence/eall and response Wee of quotes )(vhat sand vhare) i | "One Hint Julep": (G)2 use of substitutions) tritone substitutions (G)4, (F)& (G)3-4, (H)3 rhythmic practices (double tine if describe relationship to the basic time: consistently subdivides the basic time. melody: folk-like blues: Gide oe reeesively ively wer) riff-like : ! other fopectty) AANARAAAARAAAMAAARANAAAARAAARARALARARAAAARAARAARAARARRRRARRARARRAAGAREERRARGREA General Coments: Most readily identifiable patterns occur. on the II-V7 chord.lorabia LP G3 Colerbia LP NB » John Coltrane : Straight, No Chaser April 2, 1958. 2legoto—— = = — —eet ee re hime Aap ele pe = edeast wane eee, ue ie ~ i eee ei, Arm ieee aga Ele |1 eg he ist (ee ww a cere ata —, aay a gS Oat aa eg chao49 Columbia Pug. cS 9428 Sohn William Coltrane : e Straight No Chaser.=m i elodie— ee a ae ere bagSTYLES AND ANALYSIS FORMS st “ettst_John Coltrane Page, Title of composition: "Milestones" Album: Mileston Recording company: Columbia LP 1193, CS 9428 pate: April 2, 1958 Leador or afdeman: Sideman Instrucent: Tenor Saxophone AAASERCRARURARAARASAAAADAAAAAAARRRRRRA RANK AAI AERRERKKAKERARARAARAAAAAEAAMAAAL cn type (cirele one or more): bebop Latin/Afro~Cuban/ete. other (spectfy) Tempo: J=126 ; \ | | Key: Concert key G minor (tenor key A minor) Dramatic devices (circle and describe) :(yibrata) ‘ rips « (gltenandt ) (articulation Xspectfy): varied alternate fingerings : harmonica c other (npecify): Tessitura: Middle to high Seale preferences (circle one or more): (Gajor (and derivatives) blues vhole tone (pentatonic) diminished chromatic diminished whole tone (specify): lydian dominant Seventh Prevailing acale patterns: ~see attached sheet Recurrent patterns: (A) IT V7 -not relevant Turnbacke -not relevant Cycles -not relevant C (m(Getodie patterns) -see attached sheet2 Q (C) Rhythmic patterna (D) Other formulae (I VI II V; III VI II V; half-step progressions,etc.) TRAAAUAIARDATRNAAATERAARARORAEAARIUEAAAAAARRRARRIARAARMMERARARRARAALAAMAAAARA ERFORMANCE. PRACTICE vevelopmental techniques: (etmple to complex to simple (cdrele and describe) “complex to simple sas climax vertical chord referential@scale referential thematic referential use of sequence/call and response | use of quotes (what -and where) use of substitutions | Ceetterative) describe relationship to the basic time dn top bluesy | . bebop . cee bton ode? \OARaR ORR A RR ARRAAARRRERARRARERKARARARERRARRARRRARRRARRERRERRRARRERARERRRER sneral CommentsCS 9428 C- John Coltrane. Milestones _ April 21958t John William Coltrane : Milestones aan rn Ami : he Le56 STYLES AND ANALYSIS FORMS ST, John Coltrane Page Title of composition Little Melonae Album: Trane's Reign Prestige 7746 Date: March 26, 1958 ji | Recording compan} Leader or sideman: Leader Instrument: Tenor Saxophone \ | IEE RGIS ARI RIDA RAR A Tune type (ctrele one or nore): blue (Gazz original) ballad Chabop J ¥ Tatin/Afro-Cuban/ete. standard C other (specify) free Teapo:; d= ca 160 Key: BP miner Concert (C minor Tenor Key) | Dramatic devices (circle and — varied : ay grovig CarticuTation) (specify): extremely varied alternate fingerings sri [ other (specify): @ saftura: entire range + Scale preferences (circle one or more): (major (and derivatives) blues a dininTohed diminished whole tone lydian dominant Prevailing scale patterns: essentially diatonic and triadic . ()Givz_): see attached sheets Turnbacke Recurrent pattern cycle: see attached sheetsQ) (C) Rhythmic patterns (D) Other formulae (1 VI II V; III VI IL + Ja AICI ITO TOOT IGOR III RIERA IDR I PeRroRAnce PRACTICE | Developmental techniques: (cirele and describe) (complex to simple varied wsingle climax many elimaxes BOTH H a horizontal chord referential ‘ mati anti modal referential ‘call and response ase of quotes Xvhat :and vhere) (B) 5-7 "While My Lady Sleeps" use of substitutions rhythmic practices: double time) ~ ni alf tim (assymetrical groupings describe relationship to the basic time: yery loose within the time melody: _folk-1ike (Dluesy) Cesta 5 Tartar expressively quarta riff-ltke other (specify) JAUME ASSURE RR RRR RRR General Comments: ‘This solo seems to contain almost all of the basic ™ patterns which characterize Trane's playing at this time.3 @ : John Coltrane: Little Melonae sSemprectegata: = —— ® ca l60 ea ‘ prec artli GU eeHyd agg Frais ee 3 ft peeé Ayn ee ? - . ; : =e rm a clteett :f see fy ! peels CrAP mig great pete Beg = 4 —— x « |=F 6 John William Coltrane . “Little Melonae” = = te te Bm re r pac — i Theda te et = " Se Set SS || r : r tebtttet, ££ b == aire A Eiehys — ———— w Variation a eh Variation Abmiz phat RedeCo The Language All of the Il V7 and melodic patterns, cycles, turnarounds, etc., which have been abstracted from a wide variety of musical situations, have been transposed to the key of C. In order to derive maximum benefits from their study, the reader is encouraged to transpose the patterns to all keys, varying musical components such as tempo, meter, volume, register, vibrato and articulation. * Whenever possible, the author has grouped many of the melodic patterns according 10 scale or mode: e.g., lydian dominant patterns, diminished pattems, etc. This practice allows the student to see at a glance the solvist’s scale preferences in a variety of musical environs (The chord to scale syllabus in the front of this book will be an invaluable aid in determining why and how the soloist chose a particular scale) Once the material has been understood and internalized, the reader should begin striving to personalize the myriad patterns and scales in a wdy compatible with his/her own musical philosophy. Finally, this series of style studies provides the jazz musician/teacher al whatever level of development the unique opportunity to “study with” John Coltrane, Miles Davis, Charlie Parker, et alCelected IE Vy patterns of John Coltrane Dimi —= oCc Special IL Vy I patterns (Co Hrane Substitutions? | —— mig 05 - aig By BE Ch ctirte ste teers = pete! #i S Selected Coltrane frnaromd tall. burharonnds are over a a Che Cr change) pot oh: A See ESSHal ton” Eby, Ab 2h (#4) epEslectec! Melodic Patterns of John Coltrane : c L all patterns over a C corcych chord unless otherwise indicated)enhancement NSS ete tee a, BE ae eet etek ieticeie| fide, With chromatic en ~ 4 - = ee oe ee iy melodie patterns onthe afcentin ng meoic scale - iSSee Or pe enTo: we ePtenutple, =i ete | & tit Soop idan an Scale te (all patterns over 67 ( 7 (dei 7)Sa fe- Rte ve i¢ paHerns on the wibe aa 6 Sa oS SS rtedte : pattenss ° Ye 0 SSS eet a Inelodic patferns on the wees peters over C7) a TT eed LTE vu wun