Jins7:KIUSauIMEUMsoulWsioduaviwn WAC wlasluA alfisu Tuuniwavionourialduad vovvoku Tnainsu A COMPARATIVE ANALYSIS OF PAT METHENY’S AND MIKE VISATION ON JOHN COLTRANE’S GIANT STEPS lanfifig AofFms wens. ilu adulasaag unfinda mifinmediioienetnioufounidalwslaosuin uit usrlad aft sin unimas Tauauviadiud UseWudlag aeviu Inamsu dvauamaasnns Fler eMluvscifushes Lun Sonar vues Muouazaru dilledus wasdus fare sinmsiudrndnwosSenaewut snAtaite 2 vow WenumeSonaelune Waonulunwas savdemmmudusasdnwasdonfnarinmaw wifey Sandulmaly aranambwriennviold Tnvusin wiAddelanh anu Sowrwe lun Sulwsbiduasan souuvovimas wun Wlaviilusrnaudan nguliia 1-2-3-5 no Vig\dusiifissusntnusendublelunainanairsaduunovauuuaiueas sade mavrgunaudsnatrsvanmindaerilaiivofiamalldusiandaltineradultiauan foie doudwudusssanaiia wut nrussastqueedeuastiniiisie 2 rh 1 ndailtin 4 #2 dnwastusdacarad 4-5 wake naaiunaianuans vious ussanugdfustou daunmenaurnacdaueosatuandna Ao urn wid snlt donzanwhhenouiaudugenofinn ansteatunusataunosouslad auth Vidunlsamgadustion coviuusduqatne duivledusnuenaunreas fa win nfiflidiuladsanumlniin unedited avisuliiuladusdiiievidaiieds dvs dnwondnesinuraashéns wu uiin wiitienlstlnlesnin wana fumsbiseuutla 3-2-1-2 oneiilad atiulslinlesniinatindunuduiusiiued shdneiq av Traian, ulin wiiidl, lad aufifu, Trannies, lauouriatld ‘Shfinenviqaytn nangasfiauamiiovia avvimemeiudatinsn Invdumued anrinenieisin Zacudinadumaed anvinerdetoae,Abstracts ‘The research presented herein is a comparative analysis of Pat Metheny's and Mike Stern's improvisation on the tune “Giant Steps” originally composed by John Coltrane, concentrating on areas of rhythmic and melodic patterns, harmony, usage of scales and other important musical elements. The research shows that, in terms of rhythmic patterns, both guitarists used multiple rhythmic patterns of various rhythmic densities to develop their improvisation which in turn laid down the foundation to further development of rhythmic elements. Pat Metheny was noted for his use of pure rhythmic motifs in his improvisation. In terms of melodic patterns, the use of motifs based on 1-2-3-5 note groupings, large melodic intervals, and the use of chord members are prevalent in creating a variety of colors and extended melodic development. Additionally, strategic placements of melodic sequences maintains melodic unity, thus helps listeners to follow the musical idea despite heavy use of non-chord tones. Harmonically, both guitarists mainly used four-note chords with quartal and quintal harmony. Specifically, Metheny incorporates both quintal and quartal chords, while Stern favors quartal voicing, In terms of usage of scales, Metheny relied more on pentatonic scales whereas Stern emphasized diminished scales beginning with half-step. Another notable difference between the two guitarists is that Metheny often integrated a chromatic scale with the 3-2-1-2 fingering system in his solo passages. Stern, on the other hand, applied chromatic notes to create be-bob style phrases. KEYWORDS : JOHN COLTRANE, PAT METHENY, MIKE STERN, COLTRANE CHANGES, GIANT STEPS 1. ea ailuan uasarindidigy aaviu Taainau (John Coltrane, 1926-1967) tinuanlelwuuta unidarias annmisdaneiuALlnda tata (Miles Davis, 1926-1991) tinntwiouda uacinlariiaa sie (Thelonious Monk, 1917-1982) tinifluluuda asiudativwesaadu Tramsudl Sndwartorineuriudauadiein wilAAeduauunrsérwililedus (Modulates)fee ee agoTudetiwantwnnanasmuastetuaritelarl (Bright Size Lite) SsifaeieS$Su Wufinausil a. 1975 uenanniuandonsermuansauriiisluanim glad uacdiju \adeluusiactlnstiuuansmuntuszanmsendy 120-200 af (Niles, 2009: xix) adrvfunndalwsladvosnin uansersuiudaemuanailaiiiuedsed saumedie mausaasidiiiawedaniauutanadulnstad dildaraeri mast lidteai Fula Wadhoflasiosa ‘id aufiiu UnfidinfuladllAuanSnacinmuedugduacmuntion atrste Mosmnmatuemivlada nia Anauniidusnwmuosmuniuialuuninas uwallnsl (Fat Time) ainnaviudatiada iazunwinazaa’u (The Man with the Horn.Columbia 1981) viWtwuuilufi{inadientrovaeaindu aseving denna (2545: 295) naa “umwas unelna wonsinacvialilad aufuliafsnadady viioenaslada wiayatugiat vowsaadugenuiuntur uenaind usevind tl gpmabandnadeluind “unarensa Wingatanaldinaremnaed dawal¥aouae Havosluda inane adudaenrseundan aiondesinngenintudenaret” Charupakorn (2010: 4) daindandeahistad auity ‘Wh “lad auifu uudaynufin ‘nourthiatstsadeutiss aranannonmsnuniionsogfiumadivann” tl a. 2009 ‘Ind auféugnauataltuduiiniansvandeslulamaesuzeu 75 1 wos fiewarsaraitin (Downbeat) uacil a.m. 2010 gniauatartrfesrs Yaunsadlarasa arviwaviaaumalwaaauaa (Best Contemporary Jazz) win whit uaclad aut uinAinivtalugeilagiinasdeiiiinag Anwmenrauraassiumndwin _Tiadnuuasunaernaiesaaaquinaciereg uma ussiasiéad umnehsity uanannd ulin wit daeuiiuerarsdaaulirsitulad avin Snéan exadinahildiudetinaulaancurinséinwen A38eviwhwaainns Hundt arunsnighalslonNaduund daysmnatonnnalstuwanad emer ula sandloynnailanladrusoanesiensdulnaloéiusevulaanswaud Snvis unwasluouriaiud fanwasnadufueaiasuulaanmuautiioy anu uae sliiviudoumrfauacuuamenndalustaduastinnuniiis 2 vou laiiuadwa 2. 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UssfuInUNSU Laniiig 474m. “wasunalnel (Fat Time) Inalad aufisu." 2791 sAuaTtoan 6 (nangran 2564): 53-61. Son eee sete nt ot asdiqns ssanyas, nravaeWidinass nad. nyunwanruas: dtinvianurs qnasnaoiunvine de, 2552. odd sian Hifi, nonnynsntivingiersdtad] Haniedet 3, ngswmannuns: éinfant ineinz3a, 2552. lou agussiadg. “noadalwsbduasaariu Taam luwas Giant Steps.” 279877 aunssoda 1 (nangnax 2549): 49-54. ~. ‘TnasaSosvasauasuaa (Jazz Structure).” 219a73AMATIOAA 5 (NTA 2553): 31-42. dsevind Wenn. qyasdoun us ruuda, ngaummanrues: dinate dignu, 2545. Baker, David. The Jazz Style of John Coltrane: A Musical and Historical Perspective. Miami: Studio 224, 1980. Cartwright, Martin. “Transgiant." Accessed January 20, 2012. htipy/ww. lucaspicklord, com/http transgiant.htm. Charupakom, Joe. Mike Stern Guitar Signature Licks. Milwaukee: Hal Leonard Corporation, 2010. Coltrane, John. *Giant Steps.” New York: Atlantic Records 1311-2, 1959 (Soundrecording). 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Milwaukee: Hal Leonard Corporation, 2005. Niles, Richard. The Pat Metheny Interview, The Inner Workings of His Creativity Revealed. Milwaukee: Hal Leonard Corporation, 2009, “Inside and Outside the Harmony with Pat Metheny,” Berklee Today. (Spring 2010): 28-29, Porter, Lewis. “John Coltrane's Music of 1960 Through 1967: Jazz Improvisation As Composition.” Phd. Diss., Brandeis University, 1983. Porter, Lewis, Micheal Ullman and Edward Harzell. Jazz: From Its Origins to the Present. Englewood Cliffs, NJ: Prentice Hall, 1993, ‘Smith, Andy. “Pat Metheny: Composition to Exploit the Sound of the Guitar." M.M. Thesis, New Zealand School of Music, 2007. Stern, Mike. “Give and Take.” New York: Atlantic Records, 1997 (Soundrecording) Weiskopi, Walt and Ramon Ricker. Giant Steps: A Player's Guide to Coltrane's Harmony for All Instruments, New Albany, IN: Jamey Aebersold, 1991 Yamaguchi, Masaya. John Coltrane Plays Coltrane Changes. Milwaukee: Hal Leonard Corporation, 2008.