Joe Diorio Giant Steps PDF-AUDIO
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A I T T T T I S T E P
U I A I \A n I n - D e p t h S t u d y o f J o t r n c o l t r a n e ' s c l a s s i c
ProiectManager:MRON STANG
Editors:COIOAN enVlN & DALETURNER
RhythmGuitar RON BERMAN
RecordingEngineer: OBYWEISS
Design:DEBBIELIPTON
@1997WARNERBROS.PUBLICATIONS
All RightsReserved
Any duplication, daptation r arange.ment f the compositions
containedn tni. .oirJion requires he writtenconsentof the Publisher.
No part of this book may be photocopiedor reProduced n any way withoutpermission'
unauthorized sesare "" ,;;rig;;;;t'oitn" u.s. copyrightAct and are punishable v law'
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I N T R . O I D U C T T O N
It was my great privilege to see John Coltrane play with his
quartet several times in my life. These experiences changed
my life; for to be in the presence of such a creative force one
does not remain the same. At that time I did not understand
his music but r intuitively felt "hereis a musician of great
importance." I can't claim to understand hi s music fully
today, but the more I listen to it , and as the years have gone
by, I can at least grasp part of it . This is enough to inspire me
to try harder in my quest and to venture into areas that are new
and fresh. I consider John coltrane to be the most important
creative jazz musician of this century. I humbly dedicate this
book to his memory.
Joe Diorio
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CONTINTS PAC I - CD TRA
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"Giant Steps" LeadSheetJonn Coltrane'somposit ion iantsfepss without doubt he mostchallengingazzchordprogressionf the late20thCentury. hispiecehaschallengednd petrif ied ounless azzmusiciansince tsrecordingn 1960. have un ntogreat layers hohave omeup withendlessexcuses or refusingo play t. I avoided t fo r yearsuntil did whatColtrane id-l started opracticet. This ed me to writingmy ownsolos.Only hendid he unebegin o yield ts complexnature. oakup he melody. eable o quote tatany imeduring oursolo.Collect s many deas,licksand phrases ndapply hemuntilyouareable o quote hemat will. nvent ourownsolos.Good uck!
GIANTSTEPS
ByJohnGoltrane
Am7 m GmajT sbt EbmajT Ff7 BmajT
o 1974 OWCOL USTCAll Rights eservedUsed y Permission
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5
HOWTO MEMORIZE GIANTSTEPS''
It is atwayseasier o approach challengingong like GiantSfeps,by breakingt down ntoseparate hrases.
GiantStepssa sixteen arprogressionhatcan bedividedntoeightphrases:
Phrase I
BmqjT D7b7 EbmajT
PhraseAm7
t , , ,
Phrase
GmejT
1 Phrase
Bb lbt EbmajT Fil7 BmqiT Fm7
BmejT
Phrase7
Fm7 sbt EbmqiT
Phrase8cfmT F*7
. Phrase measures through
. Phrase measure as a transitional easureo the keyof G
.Phrase measures through , which re hesameas Phrase ,a major rddown. Phrase measures and9 asa ii-V-ln El
. Phrase measures 0and11as a ii-V-lnG (same s Phrase , a major rdup)
. Phrase measures 2and13as a ii-V-ln B (same sPhrase , a major rdup)
. Phrase measures 4and 15asa ii-V-ln Eb same sPhrase ,a major rdup)
. Phrase measure 6as a transitional easureeadingo the op
Since his unechanges eyso often, t is temptingo ustbreak t downandorganizet accordingto where he changes ccur.While his wouldmake echnical ense, t does not makemusicalsense. akePhrase forexample:
These hreemeasuresontainhreedifferentonal enters tarting ithB andmodulatingo G andEi, respectively.n spiteof these hanges,he lowof theprogressionil lmakemoresense f youapproachhese hreemeasures s a single hrase.Naturally,he same hingapplieso Phrasefor hesame eason.
As you earn he exampleshroughouthisbook, oushould rganize nd memorizehe icksaccordingo thisoutline. syoubecomemore
comfortable ith heprogressionou
willstart o viewcombinationsf thegroups s a singu lardeas. ftera while,heentire unewillblend ogether ndthechanges ill ade nto hebackground.his sa suresi n hatyougot t!
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Single-NoteSolossolo 1
?I he pattems n measures1, 2, 4 and5 are similar o hornpatterns haracteristicf Coltrane.
AnotherColtrane ignature, nison equences,ccursn measures , 10,12 and 14.Notice,rommeasure to theend, he repetitiveattems nd heusageof unisons, thsandSths.
CD
@ Example1
BnrrT
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7
solo 2Variationof Solo1
Solo2 is a variation f Solo1 withmanyof thepatterns itherbrought p or downan octave.Note
the absenceof unisons hroughout nd the incorporationf octaves n measures , 10 and 12.
Therearestillnew deas hroughouthissolo.
@ erample2BnriT
Ilmaj7filr)
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I
solo 3
Thissolodemonstratesowa motif ancarry sa longway.This sa very mportantesson. ookfor he many epetitive otifshroughout.he irstsix measuresrea mixture f 4thand5thpatterns.he estof thesolo s mainly ths.n order o understandhese atterns,se hefingeringsn heexampleeforeoustart sing our wn ingerings.
o ExampleBn{7dil)
BmejT(fil)
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solo 4
Motifs elp o makeup he bodyof Solo4. Thissolosoundsighter ecauset doesn'tumparound
large ntervals.
co
@ example
EhmrjT
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1 0
SOLO5
Thissolo s a greatstudy nSths.Again,noticehe repetitivemotifs.
CD
@ exampleBmrjT EbmajT(f 1)
GmajT($11)
EbmqiT(il1r)
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1 1
SOLO 6: Triplet Study
Solos 6, 7 and 8
Thesesolosare basicallyhe samesolomadeup of 16th-noteriplets. he differences that whileSolos7 and 8 use he samenotes,heyare dispersedntodifferent egisters. ora smooth, egatofeel,pick he irstnoteof each ripletandplay he ollowing oteswitha hammer-onnd a pull-off.
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1 2
EbnajT(frl)
Fl7fmT
, , - \
GmrjT(trr)
BmsjT6rr)
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1
SOLO7: Triplet Study
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14
BmrjT0rr)
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1 5
SOLO 8: Triplet Study
CD
example
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1 6
BnejT0ll)
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1
solo 9
LikeSolo5, thissolo s a study n Sths. nadditiono alternate icking,rypickinghisstudyusingonlydownstrokes.
@ exampleBmajT
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1 8
SOLO1O:Variation of Soloswith Unisons
Thissolocombines thswithunison equencesharacteristico Coltrane. aystrictattentiono
the ingeringf heunisons.
@ example 0
Am7 m GmajT
lffioil fF.:r'o;l lun6on-]
Bb-ejZ I nlrrriro-aon-1
CfmT f uni-.ionlB*1
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1
soLo11
This s anotherdemonstrationf how ar a single deacantakeyou.Solo 11utilizes ne "shape"
that s transposedo fit the harmony.Whilemadeup of 4thsand Sths, hissolo doesn'tsoundas\ride" as some of the previous olos.The symmetry f the melodic hape s veryeffectivewhenplayedat a moderate o fast empo.
co
@ Example 1
BnriT
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20
SOLO 12:.Be-Bop Style
Solos12 and 13 demonstratehe effectivenessf introducinghythmic atternshatbreakaway
from he eighth-noteine.This s the firstexample hat ntroduces omerhythmic atterns
reminiscentf the Be-bop ra,bu t t stillmaintainshecontemporarytyle.Experiment ithplaying
the soloan octavehigher.Note he firstsix measures re similar o the equivalent easuresn
Solo1 with hythmicariations.
@ example 2
BmejT GmajT
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z
solo 13
Thissolo ntroducesore hythmicariationshile tillmaintaininghe blend f Be-bop ndcontemporaryines. ikeSolo 2,experimentith layingtanoctave igher.
@ example 3BmajT
EbmejT
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SOLO14: lntroducing Octave Dispersion
Noticehat he irst womeasuresnd he ifthandsixthmeasuresrestrict, escendinghromati
scales ispersedhroughoutheoctaves.his echniques known s octave ispersion.bviously
thiscreates ide oundingntervals.
@ example 4BnrjT
EbmrjT(frr)
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2
SOLO 15: Study of 4ths and SthsNoticehow he first hreenotes,Fil,B, E (descending)re the sameas the next hreeascendingnotes'The ntervalromFilup to B is a 4th,but he ntervalromFf down o B is a 5th.Thismeansthat4thsandSthsare nversionsf eachother.Try aking omeof your avoriteicksand nvertingthem hesameway oran nteresting,ewangreoanord ine.
co
@ exampte5
BmsjT
EbMjT(rll)GnqiT(f l1)
BnejT(!rr)
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24
soLo16
Thissolo eiteratesany f hepreviouslyiscussedlements'
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25
solo 17
Thissolowas nspiredyanelectricrummer.isbouncingromdrumodrumgaveme he dea
to use hestrings sdrumsesultingnthesebouncydeas rossingdjacenttringshroughout'
Think ercussionhen layinghis olo'
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26
CD
@ erample18
Additional Melodic Patterns
PATTERNSORTHEFIRSTTHREEMEASURES
Tne trst threemeasuresre hehardest ar tof thispiece. he ollowingixteen xample
demonstrateheadvantagesf eaminghemasonephrasensteadf a series f separateeys.
Transposehesedeas own maior rd ormeasuresthrough.
Bqn
@ erample20
co
@ example 1Brrrj?
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CD
@ example 2
@ example 3BnriT
@ example_24
CD
@ example 5Bn{7
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28
CD
@ Example7
Example28BmajT
co
@
29
rt_Hifll
=
30
TI-+---
=
=
31
ExampleBm4j7
-
ry-------2--
ExampleBmejT
-+441n,71
:-r---rF-
-
ExampleBmajT
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29
@ example 2
PATTERNS ORTHE II.V7-I
The ii-V7-lprogressionhowsup, wholeor in part, en timeswithin he song.The following ixexamples il l supplementourvocabulary f i i-V7-l deas. ou can automaticallylugeach
examplentoPhrase of the progressionince heir onalcenter s El. Transposehese ines o fittheother i-V7-l hrases.
CD
@ example4
#-nt
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co
@ example6Fm7
CD
@ erample37
co
@ example 8
Example 9
Fm7
@
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3
All MinorBy usingsome basicsubstitutionrinciples,ou can actually lay hrough he entiresongusingonlyminor deas.
lf youwere o list he notesof a G$m9 hord Gf B Dl Fl Ail)youwoulddiscoverhatyouactuallyhavea BmajTwitha Gl in the bass.Thisallowsyou to useGfmT icksand ideasw1h a BmajT
harmony. oucan substitute ny majorchordwith he minorchorddowna minor3rdor upa major3rd.
lf youcompareheAm7(A C EG) to D7(D FilA C),youwillfind hatAm7containsheSth A)andb7 C)of the D7.The E andG adda 9thand 11th, espectively,o the D7 chord.Thisenables outo treatany dominant7 as a minorchorddowna perfect4th. Anotherway to approach his is toviewany i-W progressions onlya iichord.
Afteryou reduce he entireprogressiono minorchords,you will end up with the followingprogression:
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32
m"o ffi 'onFr-l-il FFtrN
ffi,n Fffi,nFt-l-FH l-|#Fn-hH t-tffil
Gmllx Am9/I)
x
FFmsfiffi
r r l t 3
-Yc[
m.
Dtcx x
rT.r-rn
fFFI+lr'ffiI 4 : 3
T'/B
I I I a T a 6 f ra I I r t lI I I I ] 1rrrr-
abx x
ffffio'.
ffi
*no x x ^
ffiHlr+
P*it Ab7$9m
m."Bxr309)
m'".'
l l .rjsrrlr-rrEi IaJTa il frI I I T ' It l t t t lFFl-t-N
NAbX X
GmajTQlr).EJrCIcl R"Fit
FFFFFI: rTnflffi
| 2 4 ,
1-- - -|OCO
Dc fm'"m'0"rrt-l m,"
Clml lx x
EbmajTx x xt(i';)FFffi rrrrH++fiffi^ | 2 46 v a - - - - -
FfmrlTFFFFI
fpffitrt'F+FFt t t l t t
Cm7/Fx x
Amai7fixl1)
m''.
Ghord-MelodySolosOu"r the years havewrittenseveral ersions f GiantSteps n chord-melodyorm. I haveincludedhemall.Theywillgiveyoua diverse mount f harmonicnformation.
REHARMONIZEDWITHCHROMATIC ASS
The chromatic ass-line efined his reharmonizedhordsolo.The progressiontartswith hefum11chordwhich unctionss the VlmTof Bmaj7.Once heouter oicingsthemelody nd hechromatic ass-line) ereestablished,he innervoicingswerechosenby ear through oiceleading.While he harmony oesventure outside"theoriginal tructure,t manageso stepbackinto heoriginal armony t thebeginningfeachphrase.
fi Example0\7 AlmlUAb cJmttrp FT/E BbMTUF}
x x rTTTIF T]-FnEEFEF r.. FltlD6f.l-?-t-FH l-]+{-HFF-fi-t ffi
2 l 3 t |
Abm9,tLg.l | l
L f I I t at t t a t
a l t l I I
Bbmaj9/Dx x
l O I O f l 5 f rLLLT"| lTrn-n
I t 2 3
Fmll
m"' m''"rrfil
--__-lttI l - .
bo-
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ALTERNATEHARMONZATION
Thisvariationn the"A"sections the irst ourmeasuresf thepreviousolo ollowed y four
measuresf altematehanges.
co
@ example1
AbmllL_
ffi"oFr-H-r-A
Gmllx . , , ,
l-&FFilror.I t t l a lr t I |rfl-rh
cJmruf*ffionH118
,rycf,
m'"
CmTlFx x
ffi'nF11+
,*lEFFffi ooI a llltln l t t lFFTTN
SnrUdx
m""fiffii
t l l l l
Am9/DL-
Hffi'nffi
Emll:-
f f i 'nt-fFFfa
funn?x
F&ffi uo.t-+-.t-f?Ft-f1-fi
l l t 2 l
ADIl/Dx . . . , f
#FIH,NHlrs
AbmlUDbx x
cE0u)
ffiF+IH1 t t lffi."Hll+
Flmll/Bx
Hffil-+fFHFrff-n
t t l l
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SUSPENDED HORDS
Youcan voiceeverychordwith suspendedhords o give t an appealing,reshnewsound hatdeviatesrom heoriginal rogression.
GO
@ Erample42Fftu
l r lg
rrrrr[
3 t
Bsusx r x
ffi.nFil]fl
Gsusx x x
f f i 'oTTFH
Bbsusx x xff
fTarTt 3frl t t t t l
, l l I
Dsusx x xTt-l-T-n
ffi'o'Ftfi-H
Gsusx x x
ffi
ffi
*susx x r|,''ml111flcnrT-rT-nt t t a t l
tILLtI3 t
Gsusx xx
H11#Ft-E+r
3 t l
B-I I I
ffi.*Hl+f,
Fsrst x x ^
Ft-fa+1ff
,Pr-t ,S*fffi,,o Fffi'uH1H H+#
Bsus Asusx x r x x x
Fffi," Fffi,"H++f H++H
$susx xff
ftt*5lcr.I-T-rrr-lt t t a t lT I I I I I
3 l l
Ip(r_
G!tr!I I IFFFFFI
ffit-t-ra+r
rfsI I I
ffi
Ftsrur x x
ffiffi
#i'
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EEffi,o*ffi
t,t ft.
I . llz.Ebrur
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Fffi."H++lh; '
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ffiBbsus
x x xrTTTFrrrT-15fr.t t t t t lI I I ' I 1T I I I T I
3 t
b;
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co
@
EXOTICCHORDMELODY1,2 AND 3
The ollowinghreeexamplesresentmanynewvoicings ithinhecontext f oneprogression.Wheneverou indnewchordshatappealoyou,make ure hatyouwork hemntoyouiplayingas soon spossibleyusinghemna tuneor writinghemntoanoriginaltune.
Example43: ExoticChordMelody1
rtxr0rl)
ffiH+ti4
Am7 lVsusx x x
f f i , 0u . f r , on
f f i f f i2 1 3 4 | 3 4
, r" !
ffi""FFFFH
J"G3)
m", G ! ,ffi'"Ht#
Drtqfto
m'"P-cle
m'"
Am9x xTrrr|-l
FFm
5n
ffi2 t a 3
D7CIe)x x , r"!
m'.*{x3)
m'"nE
xffi
J-hfhilrr|mmmtmmml.mmlTt t l - t lIU]TN
4 t l t lm.'
FbgI I
ffiH+#
2 t 1
6f t
dzsrx
fffioo.ffi
P.ui,
m."bo-
cqpx
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t 3 2 t
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ffi'"ffi
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m"IlnT
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ffi0"Tfffl
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LIIIE
az-gCIr? P-ni,
7ft.
P-.it
ffi."F+I+H
i;'
9-lt,
ff i 'nffi
BbTsusI
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ffi" m'.
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@ Example44:ExoticChordMelody2
,"?{7Effi,,offi
rr0efu)xrT'rrnta t- { I t9 f r .I I a a f aI I I t t l
| 2 2 a 3
CnsrT0t
m'" ,9tbFffi,NTH+il
P'ni'
m'"
Am9I O
g?0e)
Effi,offi
f?"j7
m'"ffi 'nH
t$tc*x x
?Fm 2ri
ffi
r$z0clI X
tTtT-r]I I l a t | 4 f tl t t t t l
2 3 t 1
Prnitm'"bo-
Am9x oFFm 5r't t t t t ll l t t a tLIIIE
P'.i'
C{mllx xTrrrnfT'rfn efr.l t t t t lLLTI I 'LLI-III
2 a 3
rl70elffi,ro.ffi
Fmll
oaaaa l 13 tI I I I T II t t f T aTNTrIr r l t t 3
nbztbr)x x
ffi',*ffi1-I
I .S-rjzI X
(lmll
ff ilr"I-FFFH#t++-l-lFFFIIAI r I t 4
FFEEtrDft
FttfflFlft-tlrt-ri|-hl
8va,----Do_
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@ example 5:ExoticGhordMelodY
PYit3Effi"oHil+f,
D13x xFFFFFI5ft
H11#ffi
3 1 2 1
GmaiT($r1)
FFITfl3fr
ffi
nbndrtx x
I t t t lFflTfl 3fr.I t t t t l| | t a t lfruJ-r4 2 3
dznqlrfx xITFTNlT-fTTl 3frIIII I I
tEL'3 2 1 1
Am9/Dx ^
FFm 5r'.
ffi
Dl3ss
ffi'"ffil
Hilq
cnrjf3T XrT'rrnI-rrTJl ?fr.rrrrn| | l ! t I
r-rrr!3 2 1 1
Bb13x xt t l a t lt l t t l lFrnnI t I l t lrTTTT]ITITTL
d'mqi7(ils)xrr.ITtrffFTD 3 fr.t l t a t ll t - t t lhlttfl
4 3 2 1 |
Bflqj13
FFffi rrr1-t-1-n
Iffi
Fnte P-tt/G
ffi''" fi''"3 2 l l l l l l l
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