Coltrane’s Harmony

The masterwork “Giant Steps” by John Coltrane was a landmark in harmonic approaches
used in jazz compositions and soloing.
It is generally rumored that Coltrane studied a book by Nicolas Slonimsky, “Thesaurus of
Scales and Patterns” (Macmillan Publishers). Included in the studies of the book are
patterns and harmonies that are created by dividing the octave or octaves into equal parts.
One such exercise Slonimsky calls a “Quadritone Progression” which is the equal
division of two octaves into three parts. This also can be viewed as two ascending major
thirds.

Here it is in the key that Giants Steps is in;

Another view is in descending major thirds

It seems Coltrane took these pitches as tonal centers and proceeded the I chords with V7
or II/V7.
Here is an analysis of “Giant Steps”
This is not the first tune to use this device. Many songs used third movements for brief
periods of time usually just a few measures. The bridge of “Have You Met Miss Jones” is
an exception as having an 8 measures of key centers moving in thirds.

Using the Idea

Starting with something familiar such as a” two, five, one” progression is best.

Here is the usual way this idea is applied, moving through

descending major third tonal centers using the V and I chord of
each tonal center

Major 3rd Major 3rd Major 3rd

Coltrane Chromatic
Using major scale fragments, 1-2-3-4-5 on each of the tonal centers suggested by the
“Quadritone Progression” (two ascending major thirds) yields an interesting result.
Here it is starting on A

Two major thirds ascending A to F

What makes this interesting is that if you were to collect the notes played in the 3 scale
fragments ant put them in alphabetical (chromatic) order you end up with a chromatic
scale. The sequence produced in this technique is one of increasing tension as you move
from the first to last note (A to Ab). The last A was added to give a sense of resolution.
Each fragment adds to the tension of the chord if you are playing over an A7.
A B C# D E F G A Bb C Db Eb F Gb Ab A
rd th th rd th
Root 9 3 Sus4 5 #5 7 Root Flat9 Sharp9 3 Flat5 #5 13 Maj7 Root

This sequence requires that the chord context be fairly complex in order for it to work.
The context of the music has a powerful effect on the “correctness” of this sound. In
other words, use this when the chords are right, i.e., altered dominants and the genre is
appropriate for this sound. Don’t use it when playing music that doesn’t take kindly to
harmonic exploration.