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'



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



CONTINTS PAC I - CD TRA



"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



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!



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



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)



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)



solo 4

Motifs elp o makeup he bodyof Solo4. Thissolosoundsighter ecauset doesn'tumparound

large ntervals.

co

@ example

EhmrjT



1 0

SOLO5

Thissolo s a greatstudy nSths.Again,noticehe repetitivemotifs.

CD

@ exampleBmrjT EbmajT(f 1)

GmajT($11)

EbmqiT(il1r)



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.



1 2

EbnajT(frl)

Fl7fmT

, , - \

GmrjT(trr)

BmsjT6rr)



1

SOLO7: Triplet Study



14

BmrjT0rr)



1 5

SOLO 8: Triplet Study

CD

example



1 6

BnejT0ll)



1

solo 9

LikeSolo5, thissolo s a study n Sths. nadditiono alternate icking,rypickinghisstudyusingonlydownstrokes.

@ exampleBmajT



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



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



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



z

solo 13

Thissolo ntroducesore hythmicariationshile tillmaintaininghe blend f Be-bop ndcontemporaryines. ikeSolo 2,experimentith layingtanoctave igher.

@ example 3BmajT

EbmejT



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)



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)



24

soLo16

Thissolo eiteratesany f hepreviouslyiscussedlements'



25

solo 17

Thissolowas nspiredyanelectricrummer.isbouncingromdrumodrumgaveme he dea

to use hestrings sdrumsesultingnthesebouncydeas rossingdjacenttringshroughout'

Think ercussionhen layinghis olo'



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?



CD

@ example 2

@ example 3BnriT

@ example_24

CD

@ example 5Bn{7



28

CD

@ Example7

Example28BmajT

co

@

29

rt_Hifll

=

30

TI-+---

=

=

31

ExampleBm4j7

-

ry-------2--

ExampleBmejT

-+441n,71

:-r---rF-

-

ExampleBmajT



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



co

@ example6Fm7

CD

@ erample37

co

@ example 8

Example 9

Fm7

@



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:



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-



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



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'

IbI I I

EEffi,o*ffi

t,t ft.

I . llz.Ebrur

I I I

Fffi."H++lh; '

Flmsr r l

ffiBbsus

x x xrTTTFrrrT-15fr.t t t t t lI I I ' I 1T I I I T I

3 t

b;



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

I a l I a a l 0 f rI I t a | |I I I I I I

t 3 2 t

CSng

ffi'"ffi

xrt70e)

m"IlnT

x x

ffi0"Tfffl

1-u'7ff

LIIIE

az-gCIr? P-ni,

7ft.

P-.it

ffi."F+I+H

i;'

9-lt,

ff i 'nffi

BbTsusI

I .

ffi" m'.



co

@ 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_



@ 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

,Fmll/B nl.n(ttrt)r

ffi,ro. ffi"o'ffi ffi

f l l l 3 1 2 2 2 4

8va --------

BTilnl)

ffi,nFM

SmrjgxrEFFFr-rT.D6ftETII.Il t - t t l

ILLLLIl 3 2 l

*mrudI

FffiunH++

D13ou)xrl-trr]I-U]!n 5trI t t t t lI I L L t tflrl-tJ

t 2 t l 4

ozdrrlx x xUG

I X

Tffi,"ffi

FFm5riffihlft-l

3 4 l

rhqlrttx xFFFFF Et.

HU1lFH*I

| 1 1 2

sfzflrrtEffi'NHffi

b

,BTdtFFFFEzn

l .'ml.mnldlFrrrn

I{mll/B

FEffi,no.t l t t t t

ffirfl

ltt lI r.

rbn4z ,q?(li)rr"'d,-qiz

fu,r,. r-rrn , EFEEFrtr'

ffi m''" HJ#ffiu1+*f i T l l ; o



co

@ Example l6BEriT

I

i4

WALKINGBASS.LINEWITHMELODY

Thebass-lineould e hought fasa counter-linercounterpointn hestyleof J.S.Bach.Maksure o write neofyourownafter eaminghisexample.

EbErjT rt7r!-siz

bo-)

Gil{7

Iz-

GmrjT

(t

Am7 Vl

) )

r f t rb-a-' 'bo-



39

Bb13x x xrrrrnftlttl 6fr.t t t a l t

ffiflt 2 3

BbrSr x x|''.mftafti 6frI I l ! t It t t t t lT I I I I I

t 2 t

1 Ir.

.$,,

ffiffi

D13r l xmrrn

ffi 'onrtff'H

D?09)ffiffi

COMPING OLOWITHPEDALPOINTS

Pedal oints reuseda great eal n contemporaryusic. edalPoints ivea feeling f beingn

onekeywhile heharmony oves ndemeath.hepedal oints tartn measure withan entirei-V7-lprogressionn Er playedwitha Bb n the bass.All of the ollowingi-V7-l rogressionshat

followuse heexact ameogicof addinghe rootof heV7chord othebassof he iand chords.

"*prt"nLfFtL

TTITTTt t t t l lrrrrn

"lT*""fFFFFFI

$fmH+#

@ example 7

ff i 'nffi

GEri9I)

8Fffi,0"ti+t-l-lFffi|

, a $

ffi'..#FH++T

?F"jt

m'"

ry13x r x

rnrUd*I

fffior'H+H

nlz(i3)I X

ITITN. I I I I I 6 f t

l t t t l l

I ia a, l

dpaild

ffi'"'f+i'h;'

Amll/I)I I

fffi'oo.Hrq

yl(!3)X T

TFFFFHoht l r u

| 1 1 1

Fmghrs/B[x x

trrtTT.l.T'TT'I 6F.

| | 3 ,1

Bb{!3)

ffi'

.f,,

Ir.rlnrird

8Fffi.'t t t a t l

fftrrl'bi'



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@

Additional Ghord patterns with MelodyTnis section resentsxcerptsf chordmelodiesesignedo increaseourchord ocabularyqualitiesangeromsimple uspendedhordso .orpi* altered ominanthords. ake ourandgrow.

FOUR-BAR ATTERNS ITHMELODY

Example 8,B?ui7

m'.'| 3 4 2

bo-

ffi'0"rrTTl

nrs0c)x x ,DPui7

,IbtnUr9

m'"ho-

,rtP"?f f ion

ffi

bo-

drnqi13x ^

ffionffi

,*te

ff i 'nffi

otljlc)

ffi '"ffifi,"ffi"'"

co

@ Example 9,BT,.j7

ffi,,u.H4till

P'(,3)

m"cmrjT0rr) r$c

x

ffi,o.trIH

Bbxr3(fn)

ffi,nffi

Am9x x

f f i ,onffiil

DTsus------Ifffi'or"ffi

@ exampte 0BmrjT

X I

m'"m"

TsusI X ,Gm4i9

Effi,nffi

hrftfl

otbclx x

D13x xMEffi

@ Example 1t r 4TrrT-n

ffi',oFTFI.N

Df3'ssx ^

FFm 5ft.FTF-l'.r1t-T-tft-t

ffit 3 r a

Gxmci705)

ff i,nffi

nbrrtfr,r)

ff iuo.H+#

,$teFFFI+Iir,.I I I I T -I I IT-IrTa-rT-l

CD

@ Example 2, 4 ?'q)

TTTT*N

FFFIHSfr

trffi

cxmqiT(ils)

m'"

bo-

EbmajT(flr)

bo-

nbrrfirrry

fFFFF 6fr

ffit 1 t

or(bc)x x

FFFFI tfr.

f+t+ilffi2 3 l 4

olbeyrrrtT]I I TT T- I8f r

e I t t a ItrlTmmmm|TFfl-TH

ll f. .



co:>-J Example 3

,.BT"jz

f f i , 'nffi

AbmajT(il11)x ^

FFm sri

ffi m''"ruTT1

pZ0n)Trrrni t l l l tl t t t t l

FffTIT1

*P"'itffffi onffi

D13x x orrflfl

ffif u

Am9x o

ptr6tl,rT,ri-rlffi

cmajT(fl1x x

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