New Jazz Etude-The Coltrane Matrix: Ascending 1-3-7 Shapes


Right here’s one other option to discover and listen to harmonic relationships over the shifting tonalities of the Coltrane Matrix. Check out the instance beneath:

The principle component of this melodic line is the 1-3-7 form. To be clear, once I confer with “1-3-7” on this etude, I’m speaking in regards to the implied melodic form itself, not the form with respect to the precise notes of the chord symbols.

So within the first measure the road begins with a 1-3-7 form that suggests a B minor tonality. (Actually, by including a fourth observe to that form in that measure, an F#, it spells out a B-7 chord.) The F# makes a chromatic connection to the F pure to spell out a Bb- (maj7) chord, which inserts very properly over the Eb7. The A pure then connects chromatically to the Ab within the second measure, then continues with the same form (1-3-7), however in a brand new key (Ab main). The fourth observe added to that form (D pure, which is the +11 of Abmaj7) then connects chromatically to the D# (the third of the B7 chord). The remainder of the notes over the B7 might be regarded as a fraction of the diminished scale, with the D pure functioning because the +9, and the C pure functioning because the -9.

The road continues within the third measure with a 1-3-7- form just like the unique one within the first measure, however with apparent alterations (particularly D# and A#), and the fourth observe is a G#. The A# and G# suggest a powerful Lydian sound over the Emaj7 chord. The final 4 notes of the third. measure are additionally organized in a 1-3-7 form, however once more, with apparent pitch modifications. The final two notes of the third measure (A# and G#) perform as a +9 and-9 over the G7 chord, which then resolves to the fifth (G) of the Cmaj7 chord.

As you play by means of this, you’ll hear a form of “descending chromatic” high quality implied by the motion of all the line. That is largely because of the similarities and slight variations between the 1-3-7 shapes. I strongly suggest working towards this etude with a backing monitor, in an effort to hear the “surprises” because the 1-3-7 shapes unfold over the precise concord. In case you’d prefer to discover and study extra in regards to the harmonic relationships, substitutions and novel methods of establishing melodic strains over dominant to tonic chord motion, please have a look to my e-book, The Coltrane Matrix: 40 Distinctive Melodic Concepts in All 12 keys.

Click on on the hyperlink on the backside to obtain a free pdf of this etude.