Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni...

Page 1 of 20

michael leibson : thinkingMusic

share

Giant Steps, Central Park West

and
Modulatory Cycles

Download as printable PDF file

Along with his intellectual and creative gifts, John Coltrane obviously had a knack
for finding just the right titles for his compositions. Giant Steps and Central Park
West both employ modulatory ‘cycles’ — but they do so quite differently. His Giant
Steps are the bold, breath-snatching modulations by which he audaciously displays
the song’s underlying conceptual structure. By contrast, Central Park West is a
sensuous, reflective walk in the park, in which structure quietly serves poetic
expression. What the song titles don’t tell us, is the how and why — for these, we
must look to the music itself.

Both Giant Steps and Central Park West owe their structures to equal subdivisions
of the octave. Since an octave spans twelve semitones, it can be divided into two,
three, four or six equal parts: divided by two, it produces two tritones; by three, it
produces three major thirds; by four, it produces four minor thirds; by six, it
骢骢롞玢玢珕玢

produces six whole tones. Such equal subdivisions of the octave have been around
for some time — Franz Schubert – in 1825 – based a series of modulations on
them, in his Symphony in C major. However, for most of its history, western music
has not used such symmetrical subdivisions, simply because most of the elements
in our diatonic system of music divide the octave asymmetrically.

Giant Steps partitions the octave into three major thirds, so that it moves through
the keys of B major, G major and Eb major. The tonics of these keys form a
descending cycle of major thirds, that, when completed, form an equally-subdivided
octave: B-G-Eb-B. Coltrane draws this cycle out, over two phrases: the song’s first
phrase progresses through B, G and Eb; the second phrase returns to G, and then
cycles down through Eb to B:

Central Park West divides the octave into four, producing an ascending cycle of
minor thirds: B – D – F – Ab – B. Coltrane makes these the keys of his tune, and
moves through the cycle one and a half times during its course. He slightly alters
the cycle’s order, so that it becomes B – D – Ab – F – B:

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... Page 2 of 20

None of these keys are closely related: each stop in Giant Steps' cycle of major
thirds has four fewer sharps than the last, and there are three fewer sharps in each
stage of Central Park West's cycle. If brusquely juxtaposed, these distantly-related
keys produce jarring, angular modulations. Skillfully place them within a well
thought-out design, though, and they can create profound and surprising beauty.
Coltrane does both, applying the former approach in Giant Steps, and the latter in
Central Park West. By examining his technique, we can learn how to go beyond the
idea of modulatory cycles, to actually using them with artistic intent.

Giant Steps
The ‘giant steps’ of Giant Steps are the actual transitions from key to key, in which
the distances between these disjointed tonalities are highlighted, rather than eased.
Although there are ten modulations in the piece, all are derived from one of two
basic designs — one for descending through the cycle of major thirds, and another
for ascending through it:

Let’s begin with the ascending modulations, which retain features of more
traditional harmony, and are therefore easier to grasp. The first of these connects
the tonic of Eb major (bar 3) with the tonic of G major (bar 5):

The two keys are related via Eb major’s tonic chord, which is simultaneously the VI
1
chord in the key of G minor. Using mixture , the progression moves from G minor
to G major, making the change at the ii chord:

The same procedure is used to modulate from B major to Eb major (bars 7-9), and
G major to B major (bars 11-13), these being simple transpositions of the
prototype.

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... Page 3 of 20

The descending cycle presents a different picture. Here the tune wastes no time,
completing the first step of this cycle, from the key of B major down a major third
to the key of G major, in three chords:

The modulation is stripped down to almost nothing: apart from giving G major its V,
Coltrane has done little to smooth the connection between the two keys. (In fact,
the D7 prevents the use of a relatively effective smoothing technique, called
common-tone modulation.) The transition between B major’s five sharps and G
major’s one is sudden, drastic, and unmitigated.

Degrees of relation could be established between the chords involved — for

example, the chord of G major is related to the key of B minor, where it is the VI
chord — but Coltrane eschews any such attempt: he removes all possibility of key
relation by immediately modulating to an even more distant tonality:

G is but a transient stop in the modulatory cycle, which immediately moves on to

the key of Eb major, via that key’s dominant. This second modulation is an exact
transposition of the first, and is just as abrupt and unadorned. The same pattern is
repeated in two subsequent descending modulations, from G to Eb (once more, in
bars 5-6), and Eb to B (bars 6-7).

At the end of the piece (bars 15 – 1), Coltrane employs a variant of this modulatory
design. While performing a descending modulation from Eb to B, he borrows from
the ascending cycle’s design, by giving B major both its ii and V:

There is now an opportunity for key relation, in that C#-7 suddenly casts Eb (=D#)
as V of G# minor. Since G# minor is the relative minor of B major, there is
potential for a closer relation between Eb major and B major:

This potential could be clearly realized were the melody to borrow a feature of
common-tone modulation, and sustain one note so that it is common to all chords:

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... Page 4 of 20

Here, the exposed, common-tone D# (the top-most note in the voicings) unifies all
parts of the modulation, allows us to hear the tonal implications of pivot chords, and
smooths out the transition between the keys.

Coltrane works against this calming effect, though, giving his melody a prominent
leap at the very moment when it should maintain its pitch. Even more, the notes of
his leap (Bb& F#) threaten to create a cross relation with the third of the
immediately preceding Eb chord.

Why does Coltrane refrain from smoothing out these jarring modulations? Why does
he sidestep those techniques and melodic changes that would produce more fluid
transitions? Here we arrive at the crux of the matter: technique should always serve
artistic intent. By exposing the rough edges and clashing tonalities, Coltrane lays
his conception bare: the song is its harmonic structure, with its three-fold division
of the octave. Coltrane wants its structure to show, and purposefully eliminates any
effect that could interfere with that revelation. Giant Steps is his experiment, and
his intention. The unmitigated, brusque, tonal juxtapositions serve that intention,
and to have done otherwise would have been to undermine his goal.

Artistic intent is entirely different in Central Park West, and there Coltrane applies
different techniques.

Central Park West

In tone, Central Park West couldn’t be more different than Giant Steps. Where the
latter is audacious, exhilarating and wild, the former is gentle, sensitive and
meditative. Structurally, however, they are very close: both employ potentially
harsh modulatory cycles, that divide the octave into segments of equal size; both
consist almost exclusively of concise modulations, that are themselves mere
transpositions of prototypical designs; and both have melodies that are developed
almost entirely by tranposition. Given these structural similarities, what does
Coltrane do to give Central Park West so different a spirit?

The six modulations of Central Park West are based on three prototypes:

modulation up a minor 3rd

modulation down a minor 3rd

modulation by tritone

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... Page 5 of 20

As in Giant Steps’ cycle of major thirds, these modulatory intervals produce

somewhat distant key relations: modulation up a minor third produces a key with
three fewer sharps; modulation down a minor third adds three sharps; modulation
by tritone produces a staggering difference of six sharps, to say nothing of the
dissonance of the tritone relationship itself.

And yet, from this same structural material, Coltrane creates an astonishingly
different aesthetic. For each type of modulation, he finds a wonderful, inventive way
to transmute the aggressiveness of Giant Steps into a musical gesture of
breathtaking tenderness.

To enable these changes, Coltrane alters the order of his structural material; in the
process, he builds an elegant, symmetrical tonal design. He changes the cycle’s
pattern of ascending minor thirds:

. . . to one of alternating thirds and tritones:

This order fixes B at its centre, and — transforming the cycle’s uniformity from
obstacle to asset — creates an abstract symmetry of tonal relations:

Where the first modulation moves up a minor third from B, the second modulation
creates a symmetry, by moving to the key that is down a minor third from B. The
third modulation takes us to F, which, being a tritone from B, forms its own
symmetry with that central key. Finally, F’s modulation to B completes the cycle.
Through simple arithmetic (3+3 = 6), Coltrane ingeniously creates tonal order in a
system that is normally antithetical to it. By combining two minor third steps of the
cycle to produce one step of a tritone, he arranges all keys into a tonally
symmetrical relationship to B.

Of course, the song doesn’t end there: the symmetry established, the remaining
bars oscillate between B and D, to finally end the piece with a codetta-like passage
that lends even more stability to the key of B.

Let’s look at how Coltrane exploits this re-ordering to create modulations that are
so different in effect from those of Giant Steps. We’ll begin where the song begins
— with modulation by minor thirds.

Mo d u la t io n ' y m in o r t h ir d s
Our cultural intimacy with the major – minor environment of diatonic music
prepares us for a special relationship with modulation by minor third. We are
habituated to the use of parallel modes — most commonly those of major scales
and their parallel minors — and these modes are related by minor thirds. The
parallel minor of the key of C major is, of course, C minor, and C minor shares the
same key signature as Eb major. Since the keys of C major and Eb major are a
minor third apart, so too are the parallel keys of C major and C minor — or, for that
matter, the parallel majors and minors of any key.

Accordingly, modulation up a minor third produces the same relationship as that of

a major key to its parallel minor: modulating up from B major to D major (the first
modulation in Central Park West) is the same as moving from B major to B minor.

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... Page 6 of 20

Mo d u la t io n down a minor third s im p ly r e ' e r s e s t h a t o r d e r : m o d u la t in g fro m ( m a ) o r

d o w n t o * m a ) o r + t h e s i, t h m o d u la t io n in Central Park West, in - a r s . - / 0 is t h e
s a m e a s m o ' in g fr o m * m in o r t o * m a ) o r .

1 s t h e p r in cip le o f m i, t u r e p e r m it s t h e ) u d icio u s u s e o f ch o r d s fr o m a p a ra lle l s ca le ,

m o d u la t io n s - y m in o r t h ir d o ffe r g e n e r o u s o p p o r t u n it y t o d is co ' e r p i' o t ch o r d s - y
w h ich t o e ffe ct t h e t r a n s it io n fr o m ke y t o k e y .

2 h e m o d u la t io n s - y m in o r t h ir d in Central Park West - rillia n t ly illu s t r a t e t h is :

Co lt r a n e r e p e a t e d ly fin d s ) u s t t h e r ig h t p a r a lle l- m o d e ch o r d t o t r a n s fo r m a
p o t e n t ia lly d is s o n a n t r e la t io n s h ip in t o a g e s t u r e o f - e a u t y .

Modulation up a minor third

2 h e s o n g - e g in s wit h a n e le g a n t , s p a cio u s m o d u la t io n , m o ' in g u p a m in o r t h ir d
fr o m * m a ) o r t o ( m a ) o r :

Co lt r a n e k n o ws t h a t m o d u la t in g u p a m in o r t h ir d is t h e s a m e a s ch a n g in g t h e fir s t
k e y 3 s m o d e fr o m m a ) o r t o m in o r . * e ca u s e a p i' o t ch o rd is n o t o t h e r w is e a ' a ila - le ,
h e u s e s m i, t u r e t o m o ' e t o t h e p a r a lle l m in o r 4 * m in o r 4 , wh e r e t h e r e is a n
a - u n d a n ce o f s u it a - le ch o r d s . * m in o r 3 s i' 4 5 m 4 is s im u lt a n e o u s ly ( m a ) o r 3 s ii,
a n d is t h e r e fo re id e a l fo r t h e r o le o f p i' o t ch o rd . S in ce t h e p r o g r e s s io n I – iv
+ m in o r 0 co m m o n ly o ccu r s in m a ) o r k e y s + e . g . , 6 m in o r p la g a l3 0 , t h e 5 m will a ls o flo w
n a t u ra lly fr o m t h e o p e n in g * M/ ch o r d , a n d t h u s m a k e g o o d m u s ica l s e n s e in - o t h
ke ys.

2 h e s h ift fro m m a ) o r t o p a r a lle l m in o r is o ft e n e , p e r ie n ce d a s a ch a n g e o f t o n e ,

co lo u r , o r m o o d . * e ca u s e it is - a s e d o n t h e s a m e r e la t io n s h ip , m o d u la t io n u p a
m in o r t h ir d a ls o co n ' e y s s u ch t r a n s fo rm a t io n s , - u t t h e t o n a l d is p la ce m e n t a d d s
e ' e n m o r e d im e n s io n , a n d 4 a s in t h is wo n d e r fu l p a s s a g e 4 a n e le m e n t o f wo n d e r.
7 n a s u - lim e g e s t u r e , Co lt r a n e - ro a d e n s t h e e , p e rie n ce - y ca llin g in a t e ch n i8 u e
n o r m a lly a s s o cia t e d wit h co m m o n - t o n e m o d u la t io n : h e s u s t a in s h is m e lo d y3 s 9 :
t h r o u g h o u t t h e e n t ire p r o g r e s s io n . 7 t is , in t u rn , a - r a s h fift h , a p o ig n a n t n in t h , a
flo a t in g t h ir t e e n t h , a n d s t r a ig h t - fo r w a r d t h ir d , e a ch co n t r i- u t in g t o t h e ca s ca d e o f
n u a n ce a n d co lo u r . Co m m o n t o n e s , s u s t a in e d t h ro u g h m o d u la t io n s in t h is wa y , - o t h
s t a - ili; e t r a n s it io n s a n d a d d d im e n s io n .

7 n co n t r a s t wit h h is h a n d s - o ff a p p r o a ch in Giant Steps, Co lt r a n e h a s d ra wn h e a ' ily

u p o n t e ch n i8 u e t o m a k e t h is m o d u la t io n g e n t le , r e fle ct i' e , a n d - e a u t ifu l. < e r e p e a t s
it , n o t e - fo r - n o t e , a s t h e m e lo d y - e g in s it s a n s we r in g p h r a s e , in - a r s = > . .

Modulation down a minor third

1 lt h o u g h it m o d u la t e s down a m in o r t h ir d , n o t u p , t h is t h ird k e y ch a n g e 4 fr o m 1 -
m a ) o r d o wn t o 9 m a ) o r 4 h a s m u ch in co m m o n wit h t h e * t o ( m o d u la t io n ) u s t
o- s e r' e d :

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... Page 7 of 20

Co lt r a n e r e p e a t s t h e t e ch n i8 u e o f s u s t a in in g h is m e lo d y n o t e + t h r o u g h most o f t h e
m o d u la t io n , r a t h e r t h a n a ll o f it 0 , a n d lo o k s t o t h e p a r a lle l m in o r 4 t h is t im e o f t h e
goal key, a s t h is m o d u la t io n is down a m in o r t h ir d 4 fo r h is p i' o t ch o rd .

2 h e k e y o f 1 - m a ) o r h a s lit t le in co m m o n wit h 9 m a ) o r , - u t e ' e r y t h in g in co m m o n

w it h 9 m in o r, it s r e la t i' e m in o r . S in ce m o d u la t in g fro m 1 - m a ) o r d o w n t o 9 m a ) o r is
e 8 u i' a le n t t o m o ' in g fr o m 9 m in o r t o 9 m a ) o r , Co lt ra n e p lu ck s h is p i' o t ch o r d fr o m
t h e k e y o f 9 m in o r , a n d r e lie s o n m i, t u r e t o m a ke t h e t ra n s it io n t o t h e p a r a lle l
m a ) o r.

7 n t h e * t o ( m o d u la t io n , Co lt r a n e u s e d a p i' o t ch o r d t h a t co u ld s e r ' e a s t h e ii
ch o r d o f h is g o a l k e y . 7 n t h is m o d u la t io n - y d e s ce n d in g m in o r t h ird , h e u s e s t h e
first key’s tonic chord a s p i' o t , fo r 1 - m a ) o r is s im u lt a n e o u s ly t h e t o n ic o f 1 - a n d
t h e 7 7 7 ch o r d o f 9 m in o r . + < e co u ld h a ' e u s e d o t h e r ch o r d s 4 * - m o r ( - m a ) o r , fo r
e , a m p le 4 - u t h is d e s ir e fo r s ym m e t ry , t h e id io m a t ic u s e o f t h e ii – V – I fo r m u la ,
a n d t h e - e a u t y of m a k in g a n e a r ly m o d e ch a n g e , h a p p ily le d t o t h is ch o ice . 0

2 h e re a r e t wo e s p e cia lly m a g ica l t o u ch e s t o t h is m o d u la t io n : t h e fir s t is t h e

6 lig h t n e s s 3 , o r re le a s e , o f it s r e s o lu t io n , p r o d u ce d a s a r e s u lt o f t h e m o ' e fr o m a k e y
w it h fo u r fla t s t o a t o n a lit y w it h o n ly o n e 4 a n e ffe ct g e n e ra t e d - y m o d u la t io n d o wn
a m in o r t h ird . 2 h e o t h e r is t h e s e rie s o f s u s p e n s io n s + o r, re a lly , o n e e le ' e n t h a n d
o n e s u s p e n s io n 0 cr e a t e d - y t h e in t e rp la y o f Co lt r a n e 3 s m e lo d y a n d ch o r d
p r o g r e s s io n :

. . . t h a t is , t h e in t e r ' a llic p la y - e t w e e n 1 - - C → G- C, a n d G- 9 → C- 5 .

< e re , a s in t h e firs t m o d u la t io n , Co lt r a n e u s e s h a rm o n ic t e ch n i8 u e t o cre a t e a

s o ft e r , m o r e in t r o s p e ct i' e e ffe ct t h a n t h a t p ro d u ce d in Giant Steps.

2 h e p ie ce 3 s s i, t h m o d u la t io n , fr o m ( m a ) o r t o * m a ) o r + - a r s . - / 0 , is id e n t ica l in a ll
r e s p e ct s , s a ' e o n e : it s m e lo d y is m o r e a ct i' e .

Modulation by tritone
? e y s a t r it o n e a p a r t h a ' e a lm o s t n o t h in g in co m m o n , a n d a re e , t r e m e ly d ifficu lt t o
lin k - y a n y u s u a l m o d e o f r e la t io n . 5 ' e n m i, t u r e fa ils t o p ro d u ce a n y co m m o n
ch o r d s .

2 h e re a r e t wo t r it o n e m o d u la t io n s in Central Park West: t h e s e co n d m o d u la t io n ,

t h a t d e s ce n d s fr o m ( t o 1 - + - a r s 2 - 3 0 , a n d t h e fo u rt h , - y w h ich 9 r e t u r n s t o t h e
ce n t ra l ke y o f * + - a r s 4 - = 0 . Co lt r a n e u s e s a d iffe re n t m o d u la t o r y d e s ig n fo r e a ch . 7 n
m o ' in g fr o m ( t o 1 - , h is a n s we r t o t h e r id d le o f k e y re la t io n is o r ig in a l, in g e n io u s
4 a n d m a y , in fa ct , h a ' e co n t r i- u t e d t o h is ch o ice of t o n a l d e s ig n . < e r e 3 s t h a t
m o d u la t io n 4 s h o wn , in co n t e , t , wit h t h e o p e n in g p a s s a g e :

2 h e re is n o a p p a r e n t lin k - e t we e n t h e t wo k e y s : 1 - 3 s ii + * - m / 0 - e a r s n o r e la t io n t o
t h e k e y o f ( 4 m a ) o r or m in o r 4 , n o o t h e r ch o r d a ct s a s p i' o t , a n d t h e r e is n o
co m m o n t o n e u n ify in g t h e p r o g re s s io n . 1 n d y e t , - y t h e t im e w e h e a r t h e 5 - / , w e
fe e l a s e n s e o f 6 r e t u r n in g 3 , o f m o ' in g t o wa r d s o m e t h in g in e ' it a - le a n d fit t in g 4 a s
t h o u g h t h is s t r a n g e m o d u la t io n m a d e p e r fe ct s e n s e . We ll 4 it does m a ke p e r fe ct

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... Page 8 of 20

s e n s e , - e ca u s e we are r e t u rn in g : t h e end o f t h is m o d u la t io n 4 t h e ii - V - I in 1 - 4
r e la t e s fa r m o r e t o t h e k e y o f * m a ) o r , w h ich o p e n e d t h e t u n e , t h a n t o ( . A is t e n t o
h o w n a t u r a lly t h e t u n e flo ws fr o m * t o 1 - , wit h t h e m o d u la t io n t o ( removed:

7 3 ' e r e m o ' e d e ' e r y t h in g fr o m - a r 1 , - e a t 3 , t o - a r 2 , - e a t 3 , le a ' in g t h e ch o r d

p r o g r e s s io n a s it wo u ld s o u n d h a d t h e re - e e n n o m o d u la t io n t o ( m a ) o r + t h e
m e lo d y , o f co u r s e , ca n n o t - e s im ila r ly a - r id g e d 0 . 2 h e re s u lt is a - e a u t ifu l, p e r fe ct ly
n a t u ra l p a t t e r n , in w h ich 1 - 3 s ii - V - I s m o o t h ly fo llo w s * 3 s ii - V - I, in a h a r m o n ic
s e 8 u e n ce t h a t d e s ce n d s - y m in o r t h ir d . 2 o - e t t e r p e r ce i' e t h a t d e s ce n d in g m in o r
t h ir d r e la t io n , h e r e 3 s t h e s a m e p r o g r e s s io n , e n h a r m o n ica lly a lt e r e d :

We ca n e a s ily s e e t h a t t h e h a r m o n ic s e 8 u e n ce p e rfo rm s a m o d u la t io n - y
d e s ce n d in g m in o r t h ir d . 7 t is e , a ct ly t h e s a m e k in d o f m o d u la t io n 4 w it h e , a ct ly
t h e same design 4 a s t h e 1 - t o 9 m o d u la t io n w e s t u d ie d e a r lie r + click h e re t o
r e ' ie w it 0 . 5 ' e n m o r e , t h e e n t ire s e 8 u e n ce ca n - e ' ie w e d a s o n e d ia t o n ic
p r o g r e s s io n in 1 - , w h ich - e g in s in t h e m in o r m o d e a n d t h e n m o ' e s t o t h e p a r a lle l
m a ) o r, in t h e p ro g re s s io n ii of III V of III | III→ p a r a lle l m a ) o r : ii V|I.

7 t is - e ca u s e o f t h e unity o f t h is s e 8 u e n ce 4 t h e in t im a cy - e t w e e n it s h a l' e s 4 t h a t
w e e , p e r ie n ce a s e n s e o f 6 r e t u rn 3 a s we m o d u la t e fro m ( t o 1 - , fo r w e r e co g n i; e in
t h e ii - V - I o f 1 - t h e co m p le t io n o f a p a t t e r n - e g u n in t h e ii - V - I o f * . Co lt r a n e
cre a t e s t h e in it ia l p a t t e r n , interrupts it w it h a t a n g e n t ia l m o ' e t o ( , a n d t h e n
restores a n d completes it ' ia t rit o n e m o d u la t io n fr o m ( t o 1 - . B a t h e r t h a n h e a r t h e
t r it o n e m o d u la t io n 3 s s t r a n g e n e s s , w e a r e ca p t u re d - y t h e r e co g n it io n o f t h e in it ia l
p a t t e rn 3 s re t u r n . 7 t 3 s m a g ica l 4 in g e n io u s 4 a n d 8 u it e fa r r e m o ' e d fr o m t h e
- r u s 8 u e m o d u la t o r y a p p r o a ch o f Giant Steps.

2 h e la s t t r it o n e m o d u la t io n + - a r s 4 - = 0 , - y w h ich t h e co m p le t e d cy cle 4 now a t 9 4

r e t u r n s t o it s s t a r t in g t o n a lit y o f * , is e ' e n m o r e e n ig m a t ic:

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... Page 9 of 20

< e re , t h e re is n o im m e d ia t e ly p re ce d in g p a s s a g e o r k e y t o w h ich t h e m o d u la t io n
r e la t e s 4 except the end of the cycle itself, and its return to B. 7 t 3 s 8 u it e p o s s i- le
t h a t , fo r Co lt ra n e , t h is w a s s u fficie n t - a s is fo r t h e m o d u la t io n . 2 h a t h e r e p e a t s h is
m e lo d y 3 s - e g in n in g , h e re 4 d e s p it e t h e t rit o n e le a p r e 8 u ir e d t o d o s o 4 a d d s
w e ig h t t o t h a t p e r s p e ct i' e . C n t h e o t h e r h a n d , a co m p o s e r w h o is s t im u la t e d - y t h e
id e a o f cy clica l m o d u la t io n p r o - a - ly w o u ld n 3 t s h r in k fr o m t h e ch a lle n g e o f t r it o n e
r e la t io n s h ip , a n d s o Co lt r a n e m a y h a ' e h a d o t h e r co n n e ct in g r e la t io n s h ip s in m in d .
< e re a r e t wo p o s s i- ilit ie s :

FM7 as bII of E

< e re , 9 M/ s e r ' e s a s - o t h 7 in 9 a n d - 7 7 in 5 . 7 n t u r n , 5 M/ is s im u lt a n e o u s ly 7 in 5
a n d 7 D in * . Co lt r a n e 3 s u s e o f C: m / , r a t h e r t h a n 5 , ca n - e ' ie w e d a s a s im p le
ch o r d s u - s t it u t io n , t h a t p r e s e r ' e s t h e s o n g 3 s ii – V – I fo r m u la .

FM7 as chromatic passing chord

< e re , 9 m a ) o r 3 s t o n ic is s t ill t h e p i' o t ch o rd , - u t t h is t im e a s a chromatically raised

IV in t h e k e y o f * m a ) o r , le a d in g d ir e ct ly t o t h e D o f t h a t k e y .

Wit h t h is r e t u r n t o * , t h e fo u r - fo ld d i' is io n o f t h e o ct a ' e is co m p le t e d , a n d

Co lt r a n e 3 s s y m m e t r ica l t o n a l d e s ig n fu lfille d .

A e t 3 s n o w t a k e a s t e p - a ck , t o p la ce t h e d e t a ils o f t h e s e t wo p ie ce s w it h in t h e
fr a m e w o r k o f o u r la r g e r 8 u e s t .

Pu t t in g it a ll t o g e t h e r . . .
We s e e t h a t , in Giant Steps a n d Central Park West, Co lt r a n e h a s wo r ke d t h e s a m e
s t r u ct u r a l m a t e ria l in t wo ' e r y d iffe re n t wa y s , a p p ly in g d i' e r g e n t t e ch n i8 u e s in h is
t r e a t m e n t o f t h e m o d u la t o r y cy cle , a n d in h is a p p ro a ch t o t o n a lit y . A e t 3 s s u m m a r i; e
t h o s e d iffe r e n ce s :

Treatment of the modulatory cycle

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... Page 10 of 20

Giant Steps
Co lt r a n e e s ch e ws a n y t e ch n i8 u e t h a t w o u ld s o ft e n t h e h a r s h n e s s o f h is
m o d u la t o r y cycle : h e a ' o id s p i' o t ch o r d s a n d co m m o n t o n e s , ch o o s in g in s t e a d
t o h ig h lig h t t h e cy cle 3 s a wk w a r d ke y r e la t io n s , - y le a ' in g t h e m e , p o s e d .

Central Park West

Co lt r a n e g o e s t o g r e a t le n g t h s t o m it ig a t e 4 a n d , in d e e d , t r a n s fo r m 4 t h e
cy cle 3 s n a t u ra l a - r a s i' e n e s s . 7 n m o d u la t io n s - y m in o r t h ir d , h e u s e s m i, t u r e t o
p r o d u ce e ffe ct i' e a n d e le g a n t p i' o t ch o r d s , a n d s u s t a in s h is m e lo d y n o t e s t o
cr e a t e t h e s m o o t h e s t p o s s i- le t r a n s it io n . Wh e re t h e s e a re n 3 t a ' a ila - le , h e
cr e a t e s t h e illusion o f s e a m le s s n e s s , - y m a kin g t h e m o d u la t io n it s e lf in t o a
p a re n t h e t ica l in s e r t io n t h a t s e p a r a t e s t h e t wo h a l' e s o f a ' e r y clo s e ly re la t e d
s e 8 u e n ce .

Treatment of tonality
Giant Steps
2 h e co m p o s e r d e li- e ra t e ly a ' o id s a n y t e ch n i8 u e s t h a t w o u ld m o re fir m ly
e s t a - lis h o n e t o n a l ce n t re . 2 h o u g h t h e p ie ce cyclica lly r e t u r n s t o * , t h a t k e y is
g i' e n lit t le m o r e p r o m in e n ce t h a n a n y o t h e r . 2 h e la ck o f a s t r o n g ce n t r a l t o n a lit y
m e a n s t h a t w e h e a r all t h e k e y s e 8 u a lly 4 w h ich in t u rn e , p o s e s t h e
co m p o s it io n 3 s u n d e r lyin g s t r u ct u r e , in wh ich t h e o ct a ' e is d i' id e d in t o t h re e
equal m a ) o r t h ir d s . 2 h e s u p p re s s io n o f t o n a lit y is a n im p o r t a n t m e a n s - y wh ich
Co lt r a n e re a li; e s h is a r t is t ic in t e n t io n .

Central Park West

Co lt r a n e g o e s o u t o f h is w a y t o cr e a t e a s y m m e t r ica l t o n a l d e s ig n t h a t p la ce s t h e
k e y o f * m a ) o r a t it s ce n t r e . C n ce t h e s t r u ct u r a l cycle is co m p le t e d , h e r e s t r ict s
h is m o d u la t io n s a n d p ro g re s s io n s t o t h o s e t h a t s t r e n g t h e n * a s t o n ic. * o t h
a ct io n s m in im i; e t h e m o d u la t o r y cy cle 3 s t o n a lit y - d is r u p t in g t e n d e n cie s , a n d
s u cce s s fu lly e s t a - lis h a ce n t r a l k e y . 2 h is cr e a t e s t h e u n ifie d - a s e fro m w h ich w e
ca n m o r e ca lm ly e , p e r ie n ce t h e cycle 3 s t o n a l t r a ) e ct o ry , a n d d e lig h t in it s
u n fo ld in g . 2 h e e s t a - lis h m e n t o f a ce n t r a l t o n a lit y - u ild s t h e p e r s p e ct i' e t h r o u g h
wh ich Central Park West ca n - e p r o p e r ly e , p e r ie n ce d .

2 h e s u m o f t h e s e d iffe r e n ce s is t h e r e a li; a t io n o f t wo d is t in ct a r t is t ic in t e n t io n s .
2 h ro u g h Giant Steps a n d Central Park West, Co lt r a n e s h o ws u s t h a t t h e s a m e
m a t e r ia l ca n - e m a d e t o p r o d u ce t o t a lly d iffe r e n t re s u lt s 4 if used differently:

' t ( s n o t wh a t yo u u s e , ) u t h o w yo u u s e it .

Wh a t w a s a s o u r ce o f ) a r r in g a g g r e s s io n in Giant Steps - e co m e s t h e s t a r t in g p o in t
fo r u t t e r ch a r m a n d - e a u t y in Central Park West. Wh a t Co lt r a n e m a k e s
a , io m a t ica lly t e n d e r in o n e , h e r e n d e rs - r u s 8 u e a n d a n g u la r in t h e o t h e r 4 a n d it is
a ll in t h e how: how t h e co m p o s e r e lim in a t e s a ll s m o o t h in g t e ch n i8 u e s , s o a s t o
e , p o s e t h e u n d e r lyin g s t r u ct u r e in Giant Steps, a n d how h e fin d s w o n d e r fu l,
in ' e n t i' e w a y s o f t r a n s fo r m in g t h e d is co r d a n ce o f d is t a n t ly- r e la t e d k e y s in t o
- r e a t h t a k in g ch a r m a n d d e lig h t in Central Park West.

Wh ile t h e s e in s ig h t s d e a l w it h co m p o s it io n , t h e y a p p ly e 8 u a lly t o im p r o ' is a t io n ,

w h e r e t h e r e a li; a t io n o f a r t is t ic in t e n t is ) u s t a s im p o r t a n t . 2 o s o lo w e ll, o n e m u s t
u n d e r s t a n d t h e s t r u ct u r e s u p o n w h ich o n e cr e a t e s .

2 h is lit t le t o u r n e ce s s a r ily t o u ch e d o n - u t a fe w p a r a m e t e r s 4 t h e re is fa r m o r e , in
Co lt r a n e 3 s cr e a t io n s , fr o m wh ich we ca n le a r n a n d g r o w. 7 t 3 s m y h o p e t h a t o u r - r ie f
e , p lo r a t io n w ill in s p ir e fu r t h e r ' is it s t o h is wo r k.

Mich a e l A e i- s o n
Ma y , 2 0 0 E

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... Page 11 of 20

Mich a e l ( e i) s o n is a co m p o s e r , m u s ic co n s u lt a n t , a n d m u s ic e d u ca t o r , w h o
s p e cia li* e s in + a * * a n d cla s s ica l h a r m o n y . , o le a r n m o re a ) o u t h im , click h e r e -
fo r in fo r m a t io n a ) o u t s t u d y in g w it h h im , click h e re - a n d fo r cop y rig h t
in fo r m a t io n , click h e r e .

Analysis

John Coltrane wasn’t the first

to experiment with equal
subdivisions of the octave
(experiments go back to at
least 1825), but his Giant Steps
placed this radically different
approach to harmony front and
centre within the jazz world.
Its unusual beauty and power
still exert an influence, half a
century later.

However, in our fascination

with the what of Coltrane’s
octave subdivision, we can at
times forget that its how is
equally important. That
Coltrane himself subjected it to
vastly divergent treatments
attests to the importance he
placed on exploring its
technical means.

Both Giant Steps and Central

Park West were constructed
using its methods, and yet
these classics couldn’t be more
dissimilar in tone and artistic
effect. Their difference bears
witness to the fact that
Coltrane ceaselessly sought to
discover the how of octave
subdivision, so that he could
learn to master its inherent
characteristics, and use it with
deliberate, artistic intent.

This analysis explores those

discoveries, as they are
embodied within the
techniques used to create these
masterpieces.

top

home

discussion

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... Page 12 of 20

contact

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... Page 13 of 20

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... Page 1& of 20

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... Page 1' of 20

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... Page 1' of 20

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... Page 17 of 20

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... Page 1( of 20

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... Page 19 of 20

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012
Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... Page 20 of 20

top

hom e

d is cu s s io n

co n ta ct

http://www.thinkingmusic.ca/analyses/coltrane/ 11/1/2012