John Coltrane Giant Steps Analysis

John Coltrane's Giant Steps has intrigued me for many years. The greatest musical challenge to improvising over the chord progressions is to think fast enough in the following tonal areas labeled 1 2 and 3 respectively:

1 = B major (and home key) 2 = E flat major 3 = G major.

The relationship between these tonal areas is that they are each a major third apart (once any enharmonics have been adjusted). Thus, normal diatonic analysis becomes problematic as the chords alternate via the three tonal areas and are thus unprepared and simply 'jump' via ii-V-I or V-I progressions. That is, B major cannot modulate to G major without first being prepared via a number of mutually acceptable keys. Such an analysis impacts upon the improviser. So a new way of seeing the chord relationships comes into effect.

Here is an outline of the chord structure:

I B major
V7 - I / G major
V7 - I / E flat major
ii - V - I / G major
V7 - I / E flat major
V - I B major)
ii - V - I / E flat major
ii - V - I / G major
ii - V - I B major
ii - V - I / E flat major
ii - V B major [-resolves back to bar 1 and chord I in B major]

Thinking in pure terms then, each chord I is a major seventh and therefore one might improvise over the tonal area using the corresponding Ionian or Lydian mode:

i.e. ii - V -I in B Maj7 = B Ionian or B Lydian

Then same can be done for the other two tonal areas E flat major and G major. However, the problem remains that phrases in the manner of a canon (a short repeating motif) are problematic to switch thinking between the key areas.

E.g. B major Ionian possesses 5 sharps
E flat major Ionian possesses 3 flats
G major Ionian possesses 1 sharp

It is far better then to theoretically 'substitute' the tonal areas for closer related and hopefully, easier to implement modal scales. Thus I have derived the following table for the three aforementioned tonal areas (as numbered 1, 2 and 3, see above). Here is the basic structure in terms of tonal areas only:

Here is an outline of the chord structure:

I 1
V7 - I / 3
V7 - I / 2
ii - V - I / 3
V7 - I / 2
V - I 1
ii - V - I / 2
ii - V - I / 3
ii - V - I 1
ii - V - I / 2
ii - V 1

So, when improvising, you can group this pattern for memory purposes to help indicate the scales and tonal areas to use:

1 3 2 3 2 1 2 3 1 2 (and repeat for solos)

Because of the symmetrical nature of major keys each being a major third apart, the mathematics produce some interesting substitutions to explore. By substitution, I intend to suggest 'thinking' and exploring the related modal key area for the duration of the ii - V - I.

1 as 'B'

1 = B major, 2 = C minor, 3 = C major

Here, you can now easily transpose any motifs by a semi-tone or by altering a given phrase from major to minor or vice versa. By thinking that 1 is B major, select the appropriate mode:

1 = B, e.g. B Ionian, B Lydian, B major pentatonic
2 = C minor, e.g. C aeolian, C minor pentatonic
3 = C major, e.g. C Ionian


1 as 'E flat minor'

1 = 'E flat minor, 2 = E flat major, 3 = E minor
1 as 'E flat minor'

Here, you can again easily transpose any motifs as above. By thinking that 1 is E flay minor, select the appropriate mode:

1 = E flat minor, e.g. E flat aeolian
2 = E flat major, e.g. E flat Ionian
3 = E minor, e.g. E aeolian

1 as 'G flat major'

The same applies here

1 = G flat major, 2 = G major, 3 = G minor

Again, transpose motifs according to the following modal examples:

1 = G flat major, e.g. G flat Ionian
2 = G major, e.g. G Ionian
3 = G minor, e.g. G aeolian

Hopefully, and as long as you are familiar with your basic major and minor scales and modes, you can transpose melodic phrases by close proximity rather than huge harmonic leaps. Which is to say, you are not stuck in any one key, and can imply a variety of new key areas whilst staying within palatable harmonic parameters!

Dale Harris
Copyright c.2009 Dale Harris. All rights reserved