Giant Steps (Piano) - Free download as PDF File .pdf), Text File .txt) or read online for free. Piano arrangement. J Coltrane Giant medical-site.info - Download as PDF File .pdf) or read online. Giant Steps John Coltrane Solo by maciek3muszynski in Types > School Work and giant steps john Download as PDF, TXT or read online from Scribd.
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TENOR SAXOPHONE. DAN HIGGINS. TENOR SAXOPHONE. FART Db. 86 elo. E? o. GIANT STEPS EXERCISE. JOHN COLTRANE. A C COLTRANE FS. John Coltrane "Giant Steps" Solo Ist Chorus. Ebmaj7. Amin7 D7. C#min7 F# 7. 4 to oHoHo. BMaj7 D7 GMaj7 Bb7. #0#.. 4. #oº..,. V. #. #. #. Giant Steps Solo: Peter Bernstein. Ralph LaLama Circle Line / Criss Cross Records) rev. 2/22/ D? #. B #. 1 BMAJ? D? GMAJ7 Bb7 EBMAJ7 Ami?.
The next exercise is the reverse of example 3, where the first triad is descending and the second triad is ascending. Now the first note of the third chord D , is the root of the previous chord and completes a one-octave triad. The same thing occurs between the fourth and fifth chords where the Bb on the downbeat of bar three completes a Bb triad, , from the Bb7 chord in the previous bar.
Four-Note Arpeggio Outlines Now that you have worked out the triads for each of the chords in the Coltrane matrix, you can move on to the four-note arpeggios for each chord.
For the purposes of this article, each arpeggio is presented in only one position on the neck. After this position becomes comfortable, feel free to play these arpeggios on different string sets and positions on the fretboard.
As with the first motive, feel free to alter the rhythms of each arpeggio once you have basic eighth notes under your fingers. One way to do this would be to play a triplet on beat one and a quarter note on beat two or vice versa. The first example presents the four-note arpeggios for each chord in ascending order. This example presents the arpeggios in descending order Now you can begin to alternate between ascending and descending arpeggios.
This example is only one possible fingering, feel free to explore other fingerings to open up these ideas to different positions on the neck. In order to make this as simple as possible, it is important to think of each root as 1. Then you just play over each of the chords. This is easier than thinking of this motive within the different keys, which would mean thinking about the D7 motive as in the key of G for example.
The first example presents the motive in ascending order over each chord in the progression. This example presents the previous exercise in reverse order: Though it may be a difficult to get down this exercise can improve your technique as well as your ability to improvise over Giant Steps. As with the previous exercises, you can now play the motive alternating between the ascending and descending versions.
There is now a bit of a jump between the second and third chord and the fourth and fifth chord, as the last note of one and the first note of the next is a perfect fourth.
The fourth interval one the guitar can be played by using one finger on the same fret over two different strings. Instead of playing each note with the tips of your fingers, as we have been taught to do, try barring these two notes, which will allow for a smoother transition between each chord. In the next exercise, you will alternate the motive between the descending and ascending versions. In this example, the perfect fourth interval is now ascending between the second and third and fourth and fifth chords.
Between the second and third chords, we can use the bar technique from the previous example, though because of the tuning of the second string the fourth interval is now over two frets so you can use two different fingers for these notes.
Giant Steps Licks Now that you have worked through the three motives, you can mix them all together to create lines over the Giant Steps chord changes. For the purposes of the exercise you are only using eighth notes.
Once these licks are comfortable, you can alter the rhythms to create more interest in our melodic ideas. Here is another example of how you can mix the three motives. These examples are only a few ways to maneuver through Giant Steps, once you have checked them out start making up your own lines.
Start by writing out the lines away from the guitar, and then playing them to see how they sound. Once this becomes comfortable practice doing it on the spot at a slow tempo, then slowly raise the tempo until it gets closer to the original recording. The best way to do this is to use a program like Band in the Box as it allows you to change the tempo and hear your ideas against the harmony at the same time.
Now you can take these ideas and apply them to the first eight bars, the Coltrane matrix in Eb and B. The last example is another line written over the first eight bars of the tune using the three motives.
Now that you have these three motives under your fingers and in your ears, you can add to your repertoire by developing your own Giant Steps melodic ideas. By using only the third and seventh of each chord, you allow yourself to move quickly through the changes while outlining the harmony at the same time. Even though you do not have a root in these voicings, these two note chords outline the harmonic function of each chord. The 3rd will tell us whether the chord is major or minor.
The 7th will tell us whether the chord is major, dominant or minor seventh. If you have never used these voicings before try playing them without any accompaniment and hear how the changes are outlined without the root being present. These voicings are similar to what a piano player would put in his left hand when comping through a tune.
Not great news: the one thing I knew was that they only moved you to the University Medical Center when you were going to die. I had three operations that year. I gave my tennis racket to the delinquent, which he probably used to club little kids with. So I wasn't going to make it to Wimbledon. But at least I wasn't going to die, though sometimes I wanted to. Following the last operation, which fitted me for a metal ball, I was confined to bed, flat on my back, immobilized by a complex system of weights and pulleys.
It was six weeks of bondage -- and bedpans. I spent my time reading James Baldwin, learning to play chess and quarreling daily with my mother, who had rented a small room -- which we could ill afford -- in a motel just down the hill from the hospital.
I think we both came to realize that our quarreling was a sort of ritual. We'd argue about everything -- what time of day it was -- but the arguments kept me from thinking about that traction system.
I limped through the next decade -- through Yale and Cambridge. But I couldn't escape the pain, which increased as the joint calcified and began to fuse over the next 15 years. My leg grew shorter, as the muscles atrophied and the ball of the ball-and-socket joint migrated into my pelvis. Aspirin, then Motrin, heating pads and massages, became my traveling companions. Most frustrating was passing store windows full of fine shoes.
I used to dream about walking into one of those stores and downloading a pair of shoes. These would be real shoes. Not bricks. Advertisement Continue reading the main story In the meantime, hip-joint technology progressed dramatically.
But no surgeon wanted to operate on me until I was significantly older, or until the pain was so great that surgery was unavoidable.
After all, a new hip would last only for 15 years, and I'd already lost too much bone. It wasn't a procedure they were sure they'd be able to repeat. This year, my 40th, the doctors decided the time had come.