Cycle drawing by John Coltrane gifted to Yusef Lateef.
Here's a trio of groovy "Trane Changes" sequence exercises, featuring alternating Major & minor triads, descending in whole steps.
This can be a useful device in simplifying what is thought to be a challenging set of chord changes.
As you may know, one of John Coltrane's legacies is his exploration of the Descending Major 3rds Cycle, which resulted in his iconic classic "Giant Steps", as well as a number of reharmonizations of then contemporary Pop and Jazz Standards - such as "How High the Moon" ("Satellite") and Charlie Parker's "Confirmation" ("26-2"), among others.
Since the Major 3rds Cycle divides the octave into three equal tonal areas (C-Ab-E), Coltrane interposed a diatonc dominant before each (C Eb7-Ab B7-E G7), resulting in a strong dominant to tonic (V7 - I) harmonic resolution to each subsequent tonal center.
This can be a useful device in simplifying what is thought to be a challenging set of chord changes.
As you may know, one of John Coltrane's legacies is his exploration of the Descending Major 3rds Cycle, which resulted in his iconic classic "Giant Steps", as well as a number of reharmonizations of then contemporary Pop and Jazz Standards - such as "How High the Moon" ("Satellite") and Charlie Parker's "Confirmation" ("26-2"), among others.
Since the Major 3rds Cycle divides the octave into three equal tonal areas (C-Ab-E), Coltrane interposed a diatonc dominant before each (C Eb7-Ab B7-E G7), resulting in a strong dominant to tonic (V7 - I) harmonic resolution to each subsequent tonal center.
Ex. 1, below, shows such a sequence in C. The 4-note groupings in the first 3 measures are not purely triads, but rather 3-5-2-1 shapes (0247 and 0237) when seen in terms of alternating Major and (Dorian) minor.
The minor groupings are actually the 7-9-6(13)-5 of the dominant chords, but the idea here is to visualize these shapes as minor in nature (built from the 5th), as they descend and alternate symmetrically in whole steps with Major.
Notice how Major connects melodically with minor via an ascending half-step within the bar, and minor with Major up a whole-step across the bar line. This easy voice leading makes for a nice and smooth, finger-friendly sequence.
Ex. 1
The minor groupings are actually the 7-9-6(13)-5 of the dominant chords, but the idea here is to visualize these shapes as minor in nature (built from the 5th), as they descend and alternate symmetrically in whole steps with Major.
Notice how Major connects melodically with minor via an ascending half-step within the bar, and minor with Major up a whole-step across the bar line. This easy voice leading makes for a nice and smooth, finger-friendly sequence.
Ex. 1
Listen
In the following 2 examples, alternating Major and minor triads are employed exclusively in the first 3 measures of each.
In Ex. 2 below, a consistent 5-1-3-5 configuration is used. An octave permutation of the second note of each minor grouping gives this descending symmetric sequence some melodic shape variation.
Voice-leading is once again smooth between each 4-note grouping, resolving down a whole-step throughout.
Ex. 2
In Ex. 2 below, a consistent 5-1-3-5 configuration is used. An octave permutation of the second note of each minor grouping gives this descending symmetric sequence some melodic shape variation.
Voice-leading is once again smooth between each 4-note grouping, resolving down a whole-step throughout.
Ex. 2
Listen
Ex. 3 is the lone ascending sequence of the three. Because the line ascends - but the triads still descend sequentially by a whole-step (as does the bass line) - some interesting triad patterns emerge, to the tune of 1513, 3135 & 5351 (Maj - min - Maj) for the first measure and a half. This pattern repeats itself - but the triad qualities are reversed (min - Maj - min), as in Ex 1 & 2.
Ex. 3
Ex. 3
Listen
The downloadable pdf expands each sequence to all 12 keys.
While these sequences / exercises are not necessarily meant as "plug & play" licks, they are a method of approaching "Coltrane Changes" (aka The Cycle of Descending Major Thirds) as alternating Major and minor triads, descending in whole steps, which can be easy to memorize and navigate.
Once you get the hang of it, why not create a few lines of your own? Experiment!
B. Stern
For an even more in-depth look, the following Shortbooks™ are recommended
and available for immediate download.
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and available for immediate download.
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