Connecting Coltrane Changes Chords

Studying how the Coltrane Changes chords connect allows the improviser to create lines which more strongly outline the changes, with better voice leading.

This post will only consider the chord movement of I to bIII7 because the other change is a common V-I.  All examples are transposed to the key of C.

Example 1: 7 to b7 of the major7 chord

Despite the disjointed nature of Coltrane Changes, this repeating pattern smoothly connects and outline the changes, voice leading from the 7 of the maj7 chord to the b7 (which is the 5th scale degree of the dominant chord). 

Example 2: 3 to b3 of the major7 chord

This approach doesn't have the voice leading of the first example but it hits another strong landing note- from the 3 of the maj7 to the b3 (the 1 of the dominant).  I like the major third interval between the 5 of the maj7 and the b7 of the dominant- Coltrane Changes are all about relationships of chords built on thirds, so it's cool to emphasize it here.  The dominant doesn't need to be held as a half note- it can be the start of an arpeggio or linear scale motion up or down.  

This next one quotes the "Giant Steps" melody to demonstrate the same concept.  Note how the melody is a simple descending major 7th arpeggio which then hits the minor third.

Example 3: 1 to b9 of the major7 chord

This example is built on the "Giant Steps" melody but instead of using the target note of Example 2, the melody has been altered to emphasize the half step movement from the 1 of the maj7 chord to the b9, or the b7 of the bIII7.  

Example 4: hold onto the 5 of the maj7 chord

Of course jazz chords are made up of four notes and we've only covered three so far.  The fourth note is actually a common tone between I and bIII7- the 5th of I which becomes the 3rd of the dominant.  The 3rd is a guide tone it is a very strong choice for a landing note.  While this note choice won't convey any new information about the next chord- it's still diatonic to the I- that's ok as the rhythm section will imply the next chord.  In fact, the 5th is a nice choice for playing more melodically as it is the only chord tone which can be held more than two beats (of course non-chord tones are an option too, but maybe not the best option- see my first post of this blog).