Four Aspects of gColtrane Changesh
John Coltranefs gGiant Stepsh brought about a harmonic revolution in the pursuit of multitonic changes based on the notes of descending B (B-G-Eó/G-Eó-B) and ascending Eó (Eó-G-B-Eó) augmented triads. During 1959 and 1960, Coltrane conducted experiments with the major thirds cycles on many other compositions. Coltranefs exploration can be interpreted in four aspects: Original, Re-composed (with original melodies and his own harmonic formula), Re-harmonized and Superimposed. It can be best tabulated in Ex-1:
Coltrane employs superimposed technique during his solos on gGrand Centralh (Ex-2*). It bears a close resemblance to the last two bars of Tadd Dameronfs gLady Birdh <NOTE: In passing, the gturnaroundshof gLady Birdh produces a microcosm of the whole key structures in the tune> (Ex-3):
It is also interesting to note that Coltrane created gFifth Househ by recomposing the idea of Taddfs gHot House.h
*For Ex-2, see my book John Coltrane Plays gColtrane Changesh (Hal Leonard Corporation), p.65.