  

Bmaj D

Gmaj B♭ E♭maj A-
 D Gmaj B♭

E♭maj F♯

Bmaj F- B♭ E♭maj
                  
   

The II-V-I The Changes The Speed

One of the basic elements of
But, the II-V-I alone would Key Changes are nothing
most jazz compositions is
not be enough to secure a new to the jazz world but
the II-V-I chord progres-
legendary status. Beyond one thing that brings all
sion, or the two-five-one.
just these changes, it also
= 280 of this togeth-
This progression starts modulates between keys in er is the speed.
 = 280
intervals of a major third. Giants Steps is written
It does this as between at 280 beats per minute,
three different keys, the which translates
Bmaj Dto a chord Gma
 
 
major third is the furthest

change every third of a sec-

at the minor II of the key distance possible from each
which then goes to the dom- of the other
  ond and a key change every
second. Elevating the piece
inent V which provides for keys, creat- in the process to one of the
dissonence which then re- ing "Giant greats.
solves to the tonic or I to
Giant Steps Steps" be-
complete the resolution. tween each
of them.
John Coltrane

  
E♭maj C♯- F♯
       
aj F- B♭ E♭maj A- D Gmaj C♯- F♯ Bmaj F- B♭  
         
  
 
Fine
  = 280
= 280
Giant Steps
John Coltrane
THE GENIUS OF
 
Bmaj D Gmaj B♭
   
  



E♭maj A- D Gmaj B♭
 
    



E♭maj F♯ BmajF- B♭

         
E♭maj A- D Gmaj
    
 
Bmaj F- B♭  
    
C♯- F♯
  
 


E♭maj
   
C♯- F♯
  
Fine