|
In jazz harmony, the Coltrane changes (Coltrane Matrix or cycle, also known as chromatic third relations and multi-tonic changes) are a harmonic progression variation using substitute chords over common jazz chord progressions. These substitution patterns were first demonstrated by jazz musician John Coltrane on the albums ''Bags & Trane'' (on the track "Three Little Words") and ''Cannonball Adderley Quintet in Chicago'' (on "Limehouse Blues"). Coltrane continued his explorations on the 1960 album ''Giant Steps'', and expanded upon the substitution cycle in his compositions "Giant Steps" and "Countdown", the latter of which is a reharmonized version of Miles Davis's "Tune Up." The Coltrane changes are a standard advanced harmonic substitution used in jazz improvisation. The changes serve as a pattern of chord substitutions for the ii-V-I progression (supertonic-dominant-tonic) and are noted for the tonally unusual root movement by major thirds (either up or down by a major third interval as opposed to more typical minor or major seconds intervals, see steps and skips, thus "Giant Steps"), creating an augmented triad. ==Influences== David Demsey, saxophonist and Coordinator of Jazz Studies at William Paterson University, cites a number of influences leading toward's Coltrane's development of these changes. After Coltrane's death it was proposed that his "preoccupation with... chromatic third-relations" was inspired by religion or spirituality, with three equal key areas having numerological significance representing a "'magic triangle,'" or, "the trinity, God, or unity."〔Demsey (1991), p.145.〕 However, as seen above, Demsey shows that though this meaning was of some importance, third relationships were much more "earthly," or rather historical, in origin. Mention should be made of his interests in Indian ragas during the early 1960s, the Trimurti of Vishnu, Brahma and Shiva may well have been an inherent reference in his chromatic third relations, tritone substitutes et al.〔 Miles Davis, who mentored Coltrane in many ways, was in the late 1950s moving toward the modal style demonstrated on ''Kind of Blue''. In playing that style, Coltrane found it "easy to apply the harmonic ideas I had... I started experimenting because I was striving for more individual development."〔Demsey, David (1991). “Chromatic Third Relations in the Music of John Coltrane,”, p.158, ''Annual Review of Jazz Studies'' 5: 145-80. ISBN 0-8108-2478-7.〕 He developed his sheets of sound style while playing with Davis and with pianist Thelonious Monk during this period.〔Ruhlmann, William. ("John Coltrane Biography", ''allmusic.com'' ).〕 It should be noted that saxophonist Odean Pope credits pianist Hasaan Ibn Ali as having been a major influence on Coltrane in his development of the so-called sheets of sound style. Coltrane studied harmony with Dennis Sandole and at the Granoff School of Music in Philadelphia. He explored contemporary techniques and theory. He also studied the ''Thesaurus of Scales and Melodic Patterns'' by Nicolas Slonimsky (1947), which additionally served as practice material. The first half of Giant Steps (melody and harmony) is contained in the Preface of Slonimsky's book. The bridge of the Rodgers and Hart song and jazz standard "Have You Met Miss Jones?" (1937) predated Tadd Dameron's "Lady Bird", after which Coltrane named his "Lazy Bird", by incorporating modulation by major third(s).〔Lyon, Jason (2007). ("Coltrane's Substitution Tunes" ), in (www.opus28.co.uk/jazzarticles.html ).〕 (shown by the * below) "Giant Steps" and "Countdown" may both have taken the inspiration for their augmented tonal cycles from "Have You Met Miss Jones".〔Christiansen, Corey (2007). "Coltrane-Style II-V-Is", ''Guitar Player'' Jun; 41, 6.〕 :"Have You Met Miss Jones" B section chord progression (Bridge): | * | | * | | * | | * | || | BbM7 | Abm7 Db7 | GbM7 | Em7 A7 | DM7 | Abm7 Db7 | GbM7 | Gm7 C7 || 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Coltrane changes」の詳細全文を読む スポンサード リンク
|