John Coltrane's Giant Steps and Central Park West both employ modulatory 'cycles' but they do so quite differently, says michael leibson. Both songs owe their structures to equal subdivisions of the octave.
John Coltrane's Giant Steps and Central Park West both employ modulatory 'cycles' but they do so quite differently, says michael leibson. Both songs owe their structures to equal subdivisions of the octave.
John Coltrane's Giant Steps and Central Park West both employ modulatory 'cycles' but they do so quite differently, says michael leibson. Both songs owe their structures to equal subdivisions of the octave.
Giant Giant Giant Giant Steps Steps Steps Steps, , , , Central Park West Central Park West Central Park West Central Park West and and and and Modulatory Modulatory Modulatory Modulatory Cycles Cycles Cycles 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 songs 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 dont 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 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 songs 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 cycles order, so that it becomes B D Ab F B: share Page 1 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ 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 Giant Steps Giant Steps 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: Lets 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 majors tonic chord, which is simultaneously the VI 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. 1 Page 2 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ 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 majors five sharps and G majors 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 keys 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 cycles 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: Page 3 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ 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 Central Park West Central Park West Central Park West In tone, Central Park West couldnt 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 3 rd modulation down a minor 3 rd modulation by tritone Page 4 oI 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ 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 cycles pattern of ascending minor thirds: . . . to one of alternating thirds and tritones: This order fixes B at its centre, and transforming the cycles 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, Fs 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 doesnt 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. Lets look at how Coltrane exploits this re-ordering to create modulations that are so different in effect from those of Giant Steps. Well begin where the song begins with modulation by minor thirds. Mo d u la t io n E 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. Page 5 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ Modula t ion down a minor third s imply r e e r s e s t ha t or de r : modula t in g Irom ma or down t o ma or t he s i t h modula t ion in Central Park West, in a r s - is t he s a me a s mo ing Ir om minor t o ma or . s t he pr in ciple oI mi t ur e pe r mit s t he udicious us e oI chor ds Ir om a pa ra lle l s ca le , modula t ions y minor t hir d oIIe r ge ne r ous oppor t unit y t o dis co e r pi ot ch or ds y which t o e IIe ct t he t r a ns it ion Ir om ke y t o ke y. h e modula t ions y minor t hir d in Central Park West rillia nt ly illu s t r a t e t his : Colt r a ne r e pe a t e dly Iin ds us t t he r ight pa r a lle l- mode chor d t o t r a ns Ior m a pot e nt ia lly dis s ona nt r e la t ions h ip int o a ge s t ur e oI e a u t y. Modulation up a minor third h e s ong e gins wit h a n e le ga n t , s pa cious modula t ion, mo ing up a minor t hir d Ir om ma or t o ma or : Colt r a ne knows t ha t modula t ing up a minor t h ir d is t he s a me a s cha nging t he Iir s t ke y s mode Ir om ma or t o minor . e ca us e a pi ot chord is not ot he r wis e a a ila le , he us e s mi t ur e t o mo e t o t he pa r a lle l minor minor , whe r e t he r e is a n a unda nce oI s uit a le chor ds . minor s i m is s imult a ne ou s ly ma or s ii, a n d is t he r e Iore ide a l Ior t he r ole oI pi ot chord. Since t he pr ogr e s s ion I iv minor commonly occur s in ma or ke ys e . g. , min or pla ga l , t he m will a ls o Ilow na t u ra lly Ir om t he ope ning M chor d, a n d t hus ma ke good mus ica l s e n s e in ot h ke ys . h e s hiIt Irom ma or t o pa r a lle l minor is oIt e n e pe r ie nce d a s a ch a nge oI t one , colour , or mood. e ca us e it is a s e d on t he s a me r e la t ions hip, modula t ion up a min or t hir d a ls o con e ys s uch t r a ns Iorma t ions , ut t he t ona l dis pla ce me nt a dds e e n mor e dime ns ion, a n d a s in t his wonde r Iul pa s s a ge a n e le me n t oI wonde r. n a s u lime ge s t ur e , Colt r a ne roa de ns t he e pe rie nce y ca lling in a t e chni ue nor ma lly a s s ocia t e d wit h common- t one modula t ion : h e s us t a ins his me lody s t hr ough out t h e e nt ire pr ogr e s s ion. t is , in t urn, a r a s h IiIt h, a poign a nt nint h, a Iloa t in g t hir t e e nt h, a nd s t r a ight - Ior wa r d t h ir d, e a ch cont r i u t ing t o t he ca s ca de oI nua nce a nd colour . Common t one s , s us t a ine d t h rough modula t ions in t his wa y, ot h s t a ili e t r a ns it ions a nd a dd dime ns ion. n cont r a s t wit h his ha nds - oII a ppr oa ch in Giant Steps, Colt r a n e ha s dra wn he a ily upon t e chni ue t o ma ke t his modula t ion ge nt le , r e Ile ct i e , a n d e a ut iIul. e r e pe a t s it , not e - Ior - not e , a s t he me lody e gins it s a ns we r ing phr a s e , in a r s . Modulation down a minor third lt hough it modula t e s down a min or t hir d, not up, t h is t hird ke y ch a nge Ir om ma or down t o ma or ha s much in common wit h t he t o modu la t ion us t o s e r e d: Page 6 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ Colt r a ne r e pe a t s t he t e chni u e oI s u s t a ining his me lody not e t hr ough most oI t he modula t ion, r a t he r t ha n a ll oI it , a nd looks t o t he pa r a lle l minor t his t ime oI t he goal key, a s t his modula t ion is down a minor t hir d Ior his pi ot chord. h e ke y oI ma or h a s lit t le in common wit h ma or , u t e e r yt hing in common wit h minor, it s r e la t i e minor . Since modula t in g Irom ma or down t o ma or is e ui a le nt t o mo ing Ir om minor t o ma or , Colt ra ne plucks h is pi ot chor d Ir om t he ke y oI minor , a nd r e lie s on mi t ur e t o ma ke t h e t ra ns it ion t o t he pa r a lle l ma or. n t he t o modu la t ion, Colt r a n e us e d a pi ot chor d t ha t could s e r e a s t he ii chor d oI h is goa l ke y. n t his modula t ion y de s ce nding minor t hird, he us e s t he first keys tonic chord a s pi ot , Ior ma or is s imult a ne ous ly t he t onic oI a nd t he chor d oI minor . e could ha e us e d ot he r chor ds m or ma or , Ior e a mple ut his de s ir e Ior s ymme t ry, t he idioma t ic us e oI t he ii V I Ior mula , a n d t he e a ut y oI ma king a n e a r ly mode ch a nge , ha ppily le d t o t his choice . h e re a r e t wo e s pe cia lly ma gica l t ouche s t o t his modula t ion: t he Iir s t is t h e light ne s s , or re le a s e , oI it s r e s olut ion, pr oduce d a s a r e s u lt oI t he mo e Ir om a ke y wit h Iou r Ila t s t o a t ona lit y wit h on ly one a n e IIe ct ge n e ra t e d y modula t ion down a minor t hird. h e ot h e r is t he s e rie s oI s u s pe ns ions or, re a lly, one e le e nt h a nd one s us pe ns ion cr e a t e d y t he int e rpla y oI Colt r a ne s me lody a nd chor d pr ogr e s s ion: . . . t ha t is , t he int e r a llic pla y e t we e n - C G- C, a nd G- C- . e re , a s in t h e Iirs t modula t ion, Colt r a ne us e s ha rmonic t e chni ue t o cre a t e a s oIt e r , mor e in t r os pe ct i e e IIe ct t ha n t h a t produce d in Giant Steps. h e pie ce s s i t h modula t ion, Ir om ma or t o ma or a r s - , is ide nt ica l in a ll r e s pe ct s , s a e one : it s me lody is mor e a ct i e . Modulation by tritone e ys a t r it one a pa r t ha e a lmos t not hing in common , a nd a re e t r e me ly diIIicult t o lin k y a n y us u a l mode oI r e la t ion. e n mi t ur e Ia ils t o produce a ny common chor ds . h e re a r e t wo t r it one modula t ion s in Central Park West: t h e s e con d modula t ion, t ha t de s ce nds Ir om t o a r s 2- , a nd t he Iou rt h, y which r e t ur ns t o t h e ce nt ra l ke y oI a r s 4- . Colt r a ne us e s a diIIe re nt modu la t or y de s ign Ior e a ch. n mo ing Ir om t o , h is a ns we r t o t he r iddle oI ke y re la t ion is or igin a l, inge nious a nd ma y, in Ia ct , ha e cont r i ut e d t o his choice oI t on a l de s ign. e r e s t h a t modula t ion s hown, in cont e t , wit h t he ope nin g pa s s a ge : h e re is no a ppa r e nt link e t we e n t he t wo ke ys : s ii m e a r s no r e la t ion t o t he ke y oI ma or or minor , no ot he r ch or d a ct s a s pi ot , a nd t he r e is no common t one uniIyin g t h e pr ogre s s ion. nd ye t , y t he t ime we he a r t h e , we Ie e l a s e ns e oI r e t ur ning , oI mo ing t owa r d s ome t hing ine it a le a nd Iit t ing a s t hough t his s t r a nge modula t ion ma de pe r Ie ct s e ns e . We ll it does ma ke pe r Ie ct Page 7 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ s e ns e , e ca us e we are r e t urning: t he end oI t his modula t ion t he ii - V - I in r e la t e s Ia r mor e t o t he ke y oI ma or , which ope ne d t he t une , t h a n t o . is t e n t o how na t ur a lly t he t une Ilows Ir om t o , wit h t he modula t ion t o removed: e r e mo e d e e r yt hin g Ir om a r 1 , e a t , t o a r 2, e a t , le a in g t he chor d pr ogr e s s ion a s it would s ound ha d t h e re e e n no modula t ion t o ma or t he me lody, oI cour s e , ca n not e s imila r ly a r idge d . he re s ult is a e a ut iIu l, pe r Ie ct ly na t u ra l pa t t e r n, in which s ii - V - I s moot hly Iollows s ii - V - I, in a ha r monic s e ue nce t ha t de s ce n ds y minor t hir d. o e t t e r pe r ce i e t ha t de s ce nding minor t hir d r e la t ion, he r e s t he s a me pr ogr e s s ion, e nha r monica lly a lt e r e d: We ca n e a s ily s e e t ha t t he ha r monic s e ue nce pe rIorms a modula t ion y de s ce nding minor t h ir d. t is e a ct ly t he s a me kind oI modula t ion wit h e a ct ly t he same design a s t h e t o modula t ion we s t udie d e a r lie r click h e re t o r e ie w it . e n mor e , t he e nt ire s e ue nce ca n e ie we d a s one dia t onic pr ogr e s s ion in , which e gins in t h e minor mode a nd t he n mo e s t o t he pa r a lle l ma or, in t h e progre s s ion ii of III V of III | III pa r a lle l ma or : ii V | I . t is e ca us e oI t he unity oI t h is s e ue nce t he int ima cy e t we e n it s ha l e s t ha t we e pe r ie n ce a s e n s e oI r e t u rn a s we modula t e Irom t o , Ior we r e cogn i e in t he ii - V - I oI t he comple t ion oI a pa t t e r n e gun in t he ii - V - I oI . Colt r a n e cre a t e s t he init ia l pa t t e r n, interrupts it wit h a t a nge nt ia l mo e t o , a nd t he n restores a nd completes it ia t rit one modula t ion Ir om t o . a t he r t ha n he a r t he t r it one modu la t ion s s t r a nge ne s s , we a r e ca pt ure d y t he r e cognit ion oI t he init ia l pa t t e rn s re t ur n. t s ma gica l inge nious a nd uit e Ia r r e mo e d Ir om t he r us ue modula t or y a ppr oa ch oI Giant Steps. he la s t t r it one modu la t ion a r s 4- , y which t he comple t e d cycle now a t r e t ur ns t o it s s t a r t ing t ona lit y oI , is e e n mor e e nigma t ic: Page 8 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ e re , t h e re is no imme dia t e ly pre ce ding pa s s a ge or ke y t o which t he modula t ion r e la t e s except the end of the cycle itself, and its return to B. t s uit e pos s i le t ha t , Ior Colt ra ne , t his wa s s u IIicie nt a s is Ior t h e modula t ion. ha t h e r e pe a t s his me lody s e ginning, he re de s pit e t h e t rit one le a p r e uir e d t o do s o a dds we ight t o t ha t pe r s pe ct i e . n t he ot he r ha nd, a compos e r who is s t imula t e d y t he ide a oI cyclica l modula t ion pr o a ly wouldn t s hr ink Ir om t h e cha lle nge oI t r it one r e la t ions hip, a nd s o Colt r a n e ma y ha e ha d ot he r conne ct ing r e la t ions h ips in mind. e re a r e t wo pos s i ilit ie s : FM7 as bII of E e re , M s e r e s a s ot h in a nd in . n t ur n, M is s imult a n e ous ly in a n d in . Colt r a n e s us e oI C m , r a t he r t ha n , ca n e ie we d a s a s imple chor d s u s t it ut ion, t ha t pr e s e r e s t he s ong s ii V I Ior mula . FM7 as chromatic passing chord e re , ma or s t onic is s t ill t he pi ot chord, ut t his t ime a s a chromatically raised IV in t he ke y oI ma or , le a din g dir e ct ly t o t he oI t ha t ke y. Wit h t his r e t ur n t o , t he Iour - Iold di is ion oI t he oct a e is comple t e d, a nd Colt r a ne s s ymme t r ica l t ona l de s ign IulIille d. e t s n ow t a ke a s t e p a ck, t o pla ce t he de t a ils oI t he s e t wo pie ce s wit hin t h e Ir a me wor k oI our la r ge r ue s t . Put t ing it Put t ing it Put t ing it Put t ing it all t oge t her . . . all t oge t her . . . all t oge t her . . . all t oge t her . . . We s e e t ha t , in Giant Steps a nd Central Park West, Colt r a ne ha s wor ke d t he s a me s t r uct ur a l ma t e ria l in t wo e r y diIIe re nt wa ys , a pplyin g di e r ge nt t e chni ue s in his t r e a t me nt oI t he modula t or y cycle , a n d in his a pproa ch t o t ona lit y. e t s s umma r i e t hos e diIIe r e nce s : Treatment of the modulatory cycle Page 9 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic techni... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ Giant Steps Colt r a ne e s ch e ws a ny t e chni u e t ha t would s oIt e n t he ha r s hne s s oI h is modula t or y cycle : he a oids pi ot ch or ds a nd common t one s , choos ing ins t e a d t o highlight t he cycle s a wkwa r d ke y r e la t ions , y le a ing t he m e pos e d. Central Park West Colt r a ne goe s t o gr e a t le ngt h s t o mit iga t e a nd, inde e d, t r a ns Ior m t he cycle s na t ura l a r a s i e ne s s . n modula t ions y minor t h ir d, he u s e s mi t ur e t o pr oduce e IIe ct i e a nd e le ga nt pi ot chor ds , a n d s us t a in s his me lody not e s t o cr e a t e t he s moot he s t pos s i le t r a ns it ion. Wh e re t h e s e a re n t a a ila le , he cr e a t e s t he illusion oI s e a mle s s n e s s , y ma king t he modula t ion it s e lI int o a pa re nt he t ica l in s e r t ion t ha t s e pa r a t e s t h e t wo ha l e s oI a e r y clos e ly re la t e d s e ue nce . Treatment of tonality Giant Steps he compos e r de li e ra t e ly a oids a ny t e ch ni ue s t ha t would more Iir mly e s t a lis h one t ona l ce nt re . hough t he pie ce cyclica lly r e t ur ns t o , t ha t ke y is gi e n lit t le mor e pr omine nce t ha n a ny ot he r . he la ck oI a s t r ong ce nt r a l t ona lit y me a ns t ha t we he a r all t he ke ys e ua lly which in t u rn e pos e s t he compos it ion s unde r lying s t r uct ur e , in wh ich t he oct a e is di ide d int o t hre e equal ma or t hir ds . he s uppre s s ion oI t ona lit y is a n impor t a nt me a ns y which Colt r a ne re a li e s his a r t is t ic in t e n t ion. Central Park West Colt r a ne goe s out oI his wa y t o cr e a t e a s ymme t r ica l t ona l de s ign t ha t pla ce s t he ke y oI ma or a t it s ce nt r e . n ce t he s t r uct ur a l cycle is comple t e d, he r e s t r ict s his modu la t ions a nd progre s s ions t o t hos e t h a t s t r e ngt he n a s t onic. ot h a ct ions minimi e t he modu la t or y cycle s t on a lit y- dis r upt ing t e nde ncie s , a nd s ucce s s Iully e s t a lis h a ce n t r a l ke y. his cr e a t e s t he uniIie d a s e Irom which we ca n mor e ca lmly e pe r ie nce t he cycle s t ona l t r a e ct ory, a nd de ligh t in it s unIolding. he e s t a lis hme nt oI a ce nt r a l t on a lit y u ilds t he pe r s pe ct i e t hr ou gh which Central Park West ca n e pr ope r ly e pe r ie nce d. h e s um oI t he s e diIIe r e nce s is t h e r e a li a t ion oI t wo dis t inct a r t is t ic int e nt ions . h rough Giant Steps a nd Central Park West, Colt r a ne s hows us t ha t t he s a me ma t e r ia l ca n e ma de t o pr oduce t ot a lly diIIe r e nt re s ult s if used differently: , t , t , t , t s not s n ot s not s n ot wh at wh at wh at wh at you u s e , E u t you u s e , E u t you u s e , E u t you u s e , E u t h ow h ow h ow h ow you us e it . you us e it . you us e it . you us e it . Wha t wa s a s our ce oI a r r ing a ggr e s s ion in Giant Steps e come s t he s t a r t ing poin t Ior ut t e r ch a r m a nd e a ut y in Central Park West. Wh a t Colt r a n e ma ke s a ioma t ica lly t e nde r in one , he r e nde rs r us ue a nd a ngula r in t he ot he r a nd it is a ll in t he how: how t he compos e r e limina t e s a ll s moot h ing t e ch ni ue s , s o a s t o e pos e t he unde r lying s t r uct ur e in Giant Steps, a nd how he Iinds wonde r Iul, in e nt i e wa ys oI t r a n s Ior ming t he dis cor da nce oI dis t a nt ly- r e la t e d ke ys int o r e a t ht a king cha r m a nd de light in Central Park West. While t h e s e ins ight s de a l wit h compos it ion, t he y a pply e ua lly t o impr o is a t ion, whe r e t he r e a li a t ion oI a r t is t ic int e nt is us t a s impor t a nt . o s olo we ll, one mus t unde r s t a nd t he s t r uct ur e s upon which one cr e a t e s . h is lit t le t our ne ce s s a r ily t ouche d on ut a Ie w pa r a me t e r s t he re is Ia r mor e , in Colt r a ne s cr e a t ions , Ir om which we ca n le a r n a n d gr ow. t s my hope t ha t our r ie I e plor a t ion will ins pir e Iur t he r is it s t o h is wor k. Micha e l e i s on Ma y, 2 00 Page 10 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ Micha e l / e iE s on is a compos e r , mus ic con s ult a nt , a nd mus ic e duca t or , who s pe cia li] e s in M a ] ] a n d cla s s ica l ha r mony. 7 o le a r n more a E out him, click he r e for infor ma t ion a E out s t u dyin g wit h him, click h e re a nd for copyright infor ma t ion, click he r e . top home discussion Analysis John Coltrane wasnt 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 Coltranes 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 couldnt 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. Page 11 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ contact Page 12 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ Page 13 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ Page 1 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ Page 1 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ Page 1 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ Page 17 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ Page 1 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ Page 19 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/ t op home dis cus s ion cont act Page 20 of 20 Giant Steps, Central Park West, and Modulatory Cycles - John Coltrane's harmonic tec... 11/1/2012 http://www.thinkingmusic.ca/analyses/coltrane/