John Coltrane - Giant Steps - By Joe Diorio

A I T T T T T I S T E P SU I A I \ IA 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

Proiect Manager: MRON STANGEditors: COIOAN enVlN & DALE TURNER

Rhythm Guitar RON BERMANRecording Engineer: TOBY WEISS

Design: DEBBIE LIPTON

@ 1997 WARNER BROS. PUBLICATIONSAll Rights Reserved

Any duplication, adaptation or arange.ment of the compositionscontained in tni. .oirJion requires the written consent of the Publisher.

No part of this book may be photocopied or reProduced in any way without permission'

unauthorized uses are "" ,;;rig;;;;t'oitn" u.s. copyright Act and are punishable bv 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 hisquartet several times in my life. These experiences changedmy life; for to be in the presence of such a creative force onedoes not remain the same. At that time I did not understandhis music but r intuitively felt "here is a musician of greatimportance." I can't claim to understand his music fullytoday, but the more I listen to it, and as the years have goneby, I can at least grasp part of it. This is enough to inspire meto try harder in my quest and to venture into areas that are newand fresh. I consider John coltrane to be the most importantcreative jazz musician of this century. I humbly dedicate thisbook to his memory.

Joe Diorio

CONTINTS P A C I - C D T R A C K

"Giant Steps" Lead SheetJonn Coltrane's composition Giantsfeps is without a doubt the most challenging jazzchordprogression of the late 20th Century. This piece has challenged and petrif ied counless jazzmusicians since its recording in 1960. I have run into great players who have come up with endlessexcuses for refusing to play it. I avoided it for years until I did what Coltrane did-l started topractice it. This led me to writing my own solos. Only then did the tune begin to yield its complexnature. Soak up the melody. Be able to quote it at any time during your solo. Collect as many ideas,licks and phrases and apply them until you are able to quote them at will. Invent your own solos.Good luck!

GIANT STEPSBy

John Goltrane

Am7 m GmajT sbt EbmajT Ff7 BmajT

o 1974 JOWCOL MUSTCAll Rights Reserved Used by Permission

5

HOW TO MEMORIZE "GIANT STEPS''

It is atways easier to approach a challenging song like Giant Sfeps, by breaking it down intoseparate phrases.

Giant Steps is a sixteen bar progression that can be divided into eight phrases:

Phrase IBmqjT D7Bb7 EbmajT

Phrase 2Am7

t , , ,

Phrase 3GmejT

1 Phrase 4Bblsbt EbmajT Fil7 BmqiT Fm7

BmejTPhrase 7

Fm7 sbt EbmqiTPhrase 8cfmT F*7

. Phrase 1 measures 1 through 3

. Phrase 2 measure 4 as a transitional measure to the key of G

. Phrase 3 measures 5 through 7, which are the same as Phrase 1, a major 3rd down

. Phrase 4 measures I and 9 as a ii-V-l in El

. Phrase 5 measures 10 and 11 as a ii-V-l in G (same as Phrase 4, a major 3rd up)

. Phrase 6 measures 12 and 13 as a ii-V-l in B (same as Phrase 5, a major 3rd up)

. Phrase 7 measures 14 and '15 as a ii-V-l in Eb (same as Phrase 6, a major 3rd up)

. Phrase 8 measure 16 as a transitional measure leading to the top

Since this tune changes key so often, it is tempting to just break it down and organize it accordingto where the changes occur. While this would make technical sense, it does not make musicalsense. Take Phrase 1 for example:

These three measures contain three different tonal centers starting with B and modulating to G andEi, respectively. In spite of these changes, the flow of the progression will make more sense if youapproach these three measures as a single phrase. Naturally, the same thing applies to Phrase 3for the same reason.

As you learn the examples throughout this book, you should organize and memorize the l icksaccording to this outline. As you become more comfortable with the progression you will start to viewcombinations of the groups as a singular ideas. After a while, the entire tune will blend together andthe changes will fade into the background. This is a sure sign that you got it!

Single-Note Solossolo 1

?I he pattems in measures 1, 2, 4 and 5 are similar to horn patterns characteristic of Coltrane.Another Coltrane signature, unison sequences, occurs in measures 7, 10, 12 and 14. Notice, frommeasure 8 to the end, the repetitive pattems and the usage of unisons, 4ths and Sths.

CD

@ Example 1BnrrT

7

solo 2Variation of Solo 1

Solo 2 is a variation of Solo 1 with many of the patterns either brought up or down an octave. Notethe absence of unisons throughout and the incorporation of octaves in measures 7, 10 and 12.There are still new ideas throughout this solo.

@ erample2BnriT

Ilmaj7filr)

I

solo 3This solo demonstrates how a motif can carry us a long way. This is a very important lesson. Lookfor the many repetitive motifs throughout. The first six measures are a mixture of 4th and 5thpatterns. The rest of the solo is mainly Sths. In order to understand these patterns, use thefingerings in the example before you start using your own fingerings.

o Example 3Bn{7dil)

BmejT(fil)

solo 4Motifs help to make up the body of Solo 4. This solo sounds tighter because it doesn't jump aroundlarge intervals.

co

@ example 4

EhmrjT

1 0

SOLO 5This solo is a great study in Sths. Again, notice the repetitive motifs.

CD

@ example 5BmrjT EbmajT(f 11)

GmajT($11)

EbmqiT(il1r)

1 1

SOLO 6: Triplet StudySolos 6, 7 and 8These solos are basically the same solo made up of 16th-note triplets. The difference is that whileSolos 7 and 8 use the same notes, they are dispersed into different registers. For a smooth, legatofeel, pick the first note of each triplet and play the following notes with a hammer-on and a pull-off.

1 2

EbnajT(frl)

Fl7CfmT, , - \

GmrjT(trr)

BmsjT6rr)

1 3

SOLO 7: Triplet Study

1 4

BmrjT0rr)

1 5

SOLO 8: Triplet StudyCD

@ example 8

1 6

BnejT0ll)

1 7

solo 9Like Solo 5, this solo is a study in Sths. In addition to alternate picking, try picking this study usingonly downstrokes.

@ example 9BmajT

1 8

SOLO 1O: Variation of Solos with UnisonsThis solo combines Sths with unison sequences characteristic to Coltrane. Pay strict attention tothe fingering of the unisons.

@ example 10

Am7 m GmajTlffioil fF.:r'o;l lun6on-]

Bb-ejZ I nlrrriro-aon-1

CfmT f uni-.ionlB*1

1 9

soLo 11This is another demonstration of how far a single idea can take you. Solo 11 utilizes one "shape"that is transposed to fit the harmony. While made up of 4ths and Sths, this solo doesn't sound as\ride" as some of the previous solos. The symmetry of the melodic shape is very effective whenplayed at a moderate to fast tempo.

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@ Example 11BnriT

20

SOLO 12:. Be-Bop StyleSolos 12 and 13 demonstrate the effectiveness of introducing rhythmic patterns that break awayfrom the eighth-note l ine. This is the first example that introduces some rhythmic patternsreminiscent of the Be-bop era, but it still maintains the contemporary style. Experiment with playingthe solo an octave higher. Note the first six measures are similar to the equivalent measures inSolo 1 with rhythmic variations.

@ example 12BmejT GmajT

z l

solo 13This solo introduces more rhythmic variations while stil l maintaining the blend of Be-bop andcontemporary lines. Like Solo 12, experiment with playing it an octave higher.

@ example 13BmajT

EbmejT

SOLO 14: lntroducing Octave DispersionNotice that the first two measures and the fifth and sixth measures are strict, descending chromaticscales dispersed throughout the octaves. This technique is known as octave dispersion. Obviously,this creates wide sounding intervals.

@ example 14BnrjT

EbmrjT(frr)

23SOLO 15: Study of 4ths and Sths

Notice how the first three notes, Fil, B, E (descending) are the same as the next three ascendingnotes' The interval from Fil up to B is a 4th, but the interval from Ff down to B is a 5th. This meansthat 4ths and Sths are inversions of each other. Try taking some of your favorite licks and invertingthem the same way for an interesting, new angre to an ord rine.co

@ exampte 15BmsjT

EbMjT(rl l)GnqiT(f l1)

BnejT(!rr)

24

soLo 16This solo reiterates many of the previously discussed elements'

25

solo 17This solo was inspired by an electric drummer. His bouncing from drum to drum gave me the ideato use the strings as drums resulting in these bouncy ideas crossing adjacent strings throughout'Think percussion when playing this solo'

26

CD

@ erample 18

Additional Melodic PatternsPATTERNS FOR THE FIRST THREE MEASURES

Tne trst three measures are the hardest part of this piece. The following sixteen examplesdemonstrate the advantages of leaming them as one phrase instead of a series of separate keys.Transpose these ideas down a maior 3rd for measures 5 through 7.

Bqn

@ erample 20

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@ example 21Brrrj?

CD

@ example 22

@ example 23BnriT

@ example_24

CD

@ example 25Bn{7

28

CD

@ Example 27

Example 28BmajT

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@

29rIt_Hifll

=

30T

I-+---=

=

31

ExampleBm4j7

-ry-------2--

ExampleBmejT

-+441n,71

:-r---rF--

ExampleBmajT

29

@ example 32

PATTERNS FOR THE II.V7-IThe ii-V7-l progression shows up, whole or in part, ten times within the song. The following sixexamples wil l supplement your vocabulary of i i-V7-l ideas. you can automatically plug eachexample into Phrase 4 of the progression since their tonal center is El. Transpose these lines to fitthe other ii-V7-l phrases.

CD

@ example 34#-nt

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@ example 36Fm7

CD

@ erample 37

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@ example 38

Example 39Fm7

@

31

All MinorBy using some basic substitution principles, you can actually play through the entire song usingonly minor ideas.

lf you were to list the notes of a G$m9 chord (Gf B Dl Fl Ail) you would discover that you actuallyhave a BmajT with a Gl in the bass. This allows you to use GfmT licks and ideas w1h a BmajTharmony. You can substitute any major chord with the minor chord down a minor 3rd or up a major3rd.

lf you compare the Am7 (A C E G) to D7 (D Fil A C), you willfind that Am7 contains the Sth (A) andb7 (C) of the D7. The E and G add a 9th and 11th, respectively, to the D7 chord. This enables youto treat any dominant 7 as a minor chord down a perfect 4th. Another way to approach this is toview any ii-W progression as only a iichord.

After you reduce the entire progression to minor chords, you will end up with the followingprogression:

32

m"o ffi 'onFFr-l-il FFtrNffi,n Fffi,nFt-l-FH l-|#Fn-hH t-tffil

Gmllx Am9/I)x

FFmsfiffi

r r l t 3

-Yc[m.'Dtc

x xrT.r-rnfFFI+l tr'ffiI 4 : 3

T'/BI I I a T a 6 f r

a I I r t lI I I I ] 1rrrr-

abx x

ffffio'.ffi

*no x x ^ffiHlr+

P*it Ab7$9mm." Bxr309)m'"m.'l l .

rjsrrlr-rrEi IaJTa il frI I I T ' It l t t t lFFl-t-N

NAbX X

GmajTQlr) .EJrCIcl R"FitFFFFFI r: rrTnflffi

| 2 4 ,1-- - - |OCODcf

m'"m'0"rrrt-l m,"Clmll

x x EbmajTx x x*t(i';)FFffi rrrrH++fiffi^ | 2 46 v a - - - - -

Ff mrlTFFFFI

fpffitrt'F+FFt t t l t t

Cm7/Fx x

Amai7fixl1)m''.

Ghord-Melody SolosOu"r the years I have written several versions of Giant Steps in chord-melody form. I haveincluded them all. They will give you a diverse amount of harmonic information.

REHARMONIZED WITH CHROMATIC BASSThe chromatic bass-line defined this reharmonized chord solo. The progression starts with thefum11 chord which functions as the VlmT of Bmaj7. Once the outer voicings (the melody and thechromatic bass-line) were established, the inner voicings were chosen by ear through voiceleading. While the harmony does venture "outside" the original structure, it manages to step backinto the original harmony at the beginning of each phrase.

fi Example 40\7 AlmlUAb cJmttrp FT/E BbMTUF}x x r

TTTIF T]-FnEEFEF or.. FltlD6f.l-?-t-FH l-]+{-HFF-fi-t ffi

2 l | 3 t | | | | |

Abm9,tLg.l | | | l lL f I I t at t t a t I

a l t l I I

Bbmaj9/Dx xl O I O f l 5 f rLLLT"| | | | t lTrn-n

I t 2 3

Fml l

m"' m''"rrrfil

--__-lttI l - .

bo-

33

ALTERNATE HARMON IZATION

This variation on the "A" section is the first four measures of the previous solo followed by fourmeasures of altemate changes.

co

@ example 41

AbmllL_ffi"oFr-H-r-A

Gmllx . , , ,l-&FFilror.I t t l a lr t I | | |rfl-rh

cJmruf*ffionH118

,rycf,m'"

CmTlFx xffi'nF11+

,*lEFFffi ooI a llltln l t t lFFTTN

SnrUdxm""ffiffii

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 l

ffi."Hll+

Flmll/Bx

Hffil-+fFHFrff-nt t l l l

SUSPENDED CHORDSYou can voice every chord with suspended chords to give it an appealing, fresh new sound thatdeviates from the original progression.

GO

@ Erample 42Fftu

l r lgrrrrr[

3 t I

Bsusx r x

ffi.nFil]fl

Gsusx x x

f f i 'oTTFH

Bbsusx x xffi

fTarTt 3frl t t t t l

, l l I

Dsusx x xTt-l-T-n

ffi'o'Ftfi-H

Gsusx x xffiffi

*susx x r|,''ml111flcnrT-rT-nt t t a t ltILLtI

3 t I

Gsusx x x

H11#Ft-E+r3 t l

B-I I I

ffi.*Hl+f,

Fsrst x x ^Ft-fa+1ffi

,Pr-t ,S*fffi,,o Fffi'uH1H H+#

Bsus Asusx x r x x x

Fffi," Fffi,"H++f H++H$sus

x r xffi

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 Iffi

Ftsrur x xffiffi#i'

IbI I I

EEffi,o*ffi

t,t ft.

I t . llz.Ebrur

I I I

Fffi."H++lh; '

Flmsr r l

ffiBbsusx x x

rTTTFrrrT-15fr.t t t t t lI I I ' I 1T I I I T I

3 t I

b;

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@

EXOTIC CHORD MELODY 1,2 AND 3The following three examples present many new voicings within the context of one progression.Whenever you find new chords that appeal to you, make sure that you work them into youi playingas soon as possible by using them in a tune or writing them into an originaltune.

Example 43: Exotic Chord Melody 1

rtxr0rl)ffiH+ti4

Am7 lVsusx x xf f i , 0 u . f r , o nf f i f f i

2 1 3 4 | 3 I 4 t

, r"!ffi""FFFFH

J"G3)m" , G ! ,ffi'"Ht#

Drtqftom'"P-clem'"

Am9x xTrrr|-lFFm 5nffi

2 t a 3

D7CIe)x x , r"!m'. *{x3)m'" nE

xffiJ-hfhilrr|mmmtmmml.mmlTt t l - t lIU]TN

4 t l t lm.'

FbgI I

ffiH+#2 t ! 1

6 f 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 I

CSng

ffi'"ffi

xrt70e)m" IlnTx xffi0"Tfffl

1-u'7ffi

LIIIE

az-gCIr? P-ni,

7ft.

P-.itffi."F+I+H

i;'9-lt,f f i 'nffi

BbTsusI

I t .

ffi" m'.

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@ Example 44: Exotic Chord Melody 2

,"?{7Effi,,offi

rr0ef u)xrT'rrnta t - { I t9 f r .I I a a f aI I I t t l

| 2 2 a 3

CnsrT0tm'" ,9tbFffi,NTH+il

P'ni'm'"

Am9I O g?0e)

Effi,offi

f?"j7m'"Effi 'nHt$tc*x x

?Fm 2riffi

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 t a 3

rl70elffi,ro.ffi

Fmll

oaaaa l 13 ftI I I I T II t t f T aTNTrIr r l t t 3

nbztbr)x x

ffi',*Fffi1-I

I l .S-rjzI X

(lmll

ff i lr"I-FFFH#t++-l-lFFFIIAI r I I t 4

FFEEtr DftFttfflFlft-tlrt-ri|-hl

8va , - - - -Do_

@ example 45: Exotic Ghord MelodY 3

PYit3Effi"oHil+f,

D13x xFFFFFI 5ftH11#ffi

3 1 2 1

GmaiT($r1)FFITfl 3fr

ffinbndrt

x xI t t t t lFflTfl 3fr.I t t t t l| | t a t lfruJ-r4 2 3 |

dznqlrfx xITFTNlT-fTTl 3frIIII I ItEL'

3 2 1 1

Am9/Dx ^FFm 5r'.ffi

Dl3ssffi'"ffilHilq

cnrjf3T XrT'rrnI-rrTJl ?fr.rrrrn| | l ! t Ir-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 |

Bflqj13FFffi rrr1-t-1-nIffi

Fnte P-tt/G

ffi''" ffi''"r 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 lILLLLI

l 3 2 l I

*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 xDUG

I X

Tffi,"ffi

FFm5riffihlft-l

3 4 l

rhqlrttx xFFFFF Et.HU1lFH*I

| 1 1 2

sfzflrrtEffi'NHffi

b

,BTdtFFFFE rznl.'ml.mnldlFrrrn

I{mll/B

FEffi,no.t l t t t tffirfl

ltt lI r. rbn4z ,q?(li) rr"'d,-qiz

fu,r,. r-rrn , EFEEF rrtr'ffi m''" HJ#Fffiu1+*f f i T l l ; o

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@ Example tl6BEriT

Ii4

WALKING BASS.LINE WITH MELODYThe bass-line could be thought of as a counter-line or counterpoint in the style of J.S. Bach. Makesure to write one of your own after leaming this example.

EbErjT rt7 r!-siz

bo-h)Gil{7

Iz-

GmrjT

(t

Am7 Vl

) )

r f t rb-a-' 'bo-

39

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

t 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

I

II

COMPING SOLO WITH PEDAL POINTSPedal points are used a great deal in contemporary music. Pedal Points give a feeling of being inone key while the harmony moves undemeath. The pedal points start in measure 8 with an entire ii-V7-l progression in Er played with a Bb in the bass. All of the following ii-V7-l progressions thatfollow use the exact same logic of adding the root of the V7 chord to the bass of the ii and I chords.

"*prt"nLfFtLTTITTTt t t t l lrrrrn

"lT*""fFFFFFI$fmH+#

@ example 47

ffi 'nffi

GEri9I)

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

, a $ffi|'..#FH++T

?F"jtm'"

ry13x r x

rnrUd*Ifffior'H+H

nlz(i3)I X

ITITN. I I I I I 6 f tl t t t l l

I ia a, l

dpaild

ffi'"'Hf+i'h; '

Amll/I)I I

fffi'oo.Hrq

yl(!3)X T

TFFFFH roht l r u

| 1 1 1

Fmghrs/B[x x

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

| | 3 , 1

Bb{!3)

ffi'

.f,,

I r.rlnrird8Fffi.'t t t a t lfftrrl'bi'

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@

Additional Ghord patterns with MelodyTnis section presents excerpts of chord melodies designed to increase your chord vocabulary. Thequalities range from simple suspended chords to .orpi* altered dominant chords. Take your timeand grow.

FOUR-BAR PATTERNS WITH MELODYExample 48

,B?ui7m'.'| 3 4 2

bo-

ffi'0"rrrTTl

nrs0c)x x ,DPui7

,IbtnUr9m'"ho-

,rtP"?f f ionffi

bo-

drnqi13x ^

ffionffi

,*teff i 'nffi

otljlc)

ffi '"ffiffi,"ffi"m'"

co

@ Example 49,BT,.j7ffi,,u.H4till

P'(,3)m"cmrjT0rr) r$cx

ffi,o.trIH

Bbxr3(fn)

ffi,nffi

Am9x xf f i ,onffiil

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

@ exampte S0BmrjT

X Im'" m"DTsusI X ,Gm4i9

Effi,nffihrftfl

otbclx x

D13x xMEffi

@ Example 51t r 4TrrT-nffi',oFTFI.N

Df3'ssx ^FFm 5ft.FTF-l'.r1t-T-tft-tffi

t 3 r t a

Gxmci705)

ff i,nffi

nbrrtfr,r)ffiuo.H+#

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

CD

@ Example 52, 4 ?'q)

TTTT*NFFFIH Sfrtrffi

cxmqiT(ils)m'"

bo-

EbmajT(flr)

bo-

nbrrfirrryfFFFF 6fr

ffiI t 1 t

or(bc)x x

FFFFI tfr.f+t+ilffi2 3 l 4

olbeyrrrtT]I I TT�T-I 8fr

e I t t a It r lTmmmm|TFfl-TH

ll f . .

co:>-J Example 53

,.BT"jzff i , 'nffi

AbmajT(il11)x ^FFm sriffi m''"rruTT1

pZ0n)Trrrni t l l l tl t t t t lFffTIT1

*P"'itffffi onffi

D13x x orrflflffi1 f u

Am9x o

ptr6tl,rT,ri-rlffi

cmajT(fl1x x

ffi

ffi1 2 3 1

PO_

D;najz(f,tt)FFm 3r..rrrrnffi

nbrdrlrT-rrnFFFFFI 3f'F+#

Amllx o xFFm 3frFFMff-rrhl

2 l 4

o Example 55,BT"jtffiFrrr-rrFt.l-1t

DTsusx x

ffiffi: 3 { l

GmajT(f,1r)x x

] f l

Amll Ab7(*u)x x x x

f f i 'u ff i.nH41H hruXGmajTx x

}FFFHffit 2 3 4

co

@ example 57{x x

i--FJ-T']Fm6r .i...l'-"1'...mi-trf1

I t l l

nbrsx x xFrrrnrrrfn -I I l l t lf ] I I I 1

| 2 3

@ example 54BmajT(f l l)

x L -ITFT-fa2 fiF+++NH11+

l )

THREE.BAR PATTERNS WITH MELODY

Ebmqi7d11)x x -l f f i < *

t t t t t Iffiffil r 2 4 1PO-

Ebmajl3

ffiHilS

b;_'''

SEVEN.BAR PATTERN WITH MELODY

cmaj(lrr)x x x

|;FI-T-T"]fPffi sr.ffiffilI t l

, r"b8rrTrnm'"FTFT-TI

b , l " '

3 f r

D9

Dl3x xFFffi ouFFFMFr1-TF

I 1 3

EbmajT(f,u)FFI-TNffffi sr'ffi

Bbex x xt l ^ t t l

FF?#ff-rfl-ll t l

, 6 ,ffiFlt+

Am9x x xFFFFF,Nffi

I I {

Additional ii-vz-l Ghord patternsrF

I he following thirteen ii V7 I chord voicings are primarily suspended chords. Transpose them toapply them to the remaining ii V7 I progressions in the Bridge. Combining suspended chords toother chord qualities creates a refreshing new sound.

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COMPLETE BRIDGEThe Bridge, starting at measure eight of the tune is a series of ii V7 | progressions in the keys of Et,G, B, Eb (all of them a major 3rd apart) followed by a ii V7 turnaround in B. In order to demonstratehow many harmonic functions one type of chord can imply, suspended chords are used throughout.

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