Take the Coltrane Final - Seth Carper - · PDF fileTake the CoLtrane John Coltrane's Solo
11
John Coltrane’s Solo on “Take The Coltrane” Transcription & Analysis by Seth Carper In 1962 John Coltrane and Duke Ellington went into the studio to record an album for Impulse!, simply titled Duke Ellington & John Coltrane. The bassist and drummer from both men’s groups rounded out the quartet on various tracks. One of the most exciting numbers on the record is Ellington’s riff blues, “Take The Coltrane.” Jimmy Garrison and Elvin Jones, both from Coltrane’s quartet, play bass and drums on the cut. Ellington plays only two choruses, leaving the bulk of the improvisation to Coltrane. Ellington obviously wanted Coltrane to feel free to stretch, choosing not to comp behind Coltrane’s solo. Coltrane tempers this freedom with one of his clearest solos of this period. As with many of Coltrane’s solos, there is a sparse amount of motivic material present. This recording simultaneously displays Coltrane’s deep sense of the blues tradition, while pushing toward a more open, modal sound over the blues progression. Motives The opening phrase can be thought of as the seed of the entire solo. Much of what follows derives from the first two measures. Rhythmically, the cell starts on a strong beat (1 or 3), and consists of a quarter note and two eighth notes, followed by another quarter note. This motive is easy to follow through the first eight measures as Coltrane sequences it through the G7 and C7 (Fig. 1). The motive returns in this relatively pure form in mm. 334, 63, 8183, 8990 and 167168 (Fig.2ae). Measures 9091 also contain a rhythmic compression of the figure (Fig. 3).
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Transcript of Take the Coltrane Final - Seth Carper - · PDF fileTake the CoLtrane John Coltrane's Solo
John Coltrane’s Solo on “Take The Coltrane”
Transcription & Analysis by Seth Carper
In 1962 John Coltrane and Duke Ellington went into the studio to record an
album for Impulse!, simply titled Duke Ellington & John Coltrane. The bassist and
drummer from both men’s groups rounded out the quartet on various tracks. One of
the most exciting numbers on the record is Ellington’s riff blues, “Take The
Coltrane.” Jimmy Garrison and Elvin Jones, both from Coltrane’s quartet, play bass
and drums on the cut. Ellington plays only two choruses, leaving the bulk of the
improvisation to Coltrane. Ellington obviously wanted Coltrane to feel free to
stretch, choosing not to comp behind Coltrane’s solo. Coltrane tempers this freedom
with one of his clearest solos of this period. As with many of Coltrane’s solos, there
is a sparse amount of motivic material present. This recording simultaneously
displays Coltrane’s deep sense of the blues tradition, while pushing toward a more
open, modal sound over the blues progression.
Motives
The opening phrase can be thought of as the seed of the entire solo. Much of
what follows derives from the first two measures. Rhythmically, the cell starts on a
strong beat (1 or 3), and consists of a quarter note and two eighth notes, followed by
another quarter note. This motive is easy to follow through the first eight measures
as Coltrane sequences it through the G7 and C7 (Fig. 1). The motive returns in this
relatively pure form in mm. 33-‐4, 63, 81-‐83, 89-‐90 and 167-‐168 (Fig.2a-‐e). Measures
90-‐91 also contain a rhythmic compression of the figure (Fig. 3).
Fig. 1 Motive 1
Fig. 2
a.
b.
c.
d.
e.
Fig. 3
The second motive, found in Figure 4, is related to the first motive, but
replaces the initial quarter note with two eighth notes, resulting in a total of four
eighths on a strong beat followed by a quarter note. This idea is usually built on one
of the triadic or pentatonic figures seen below. The motive begins to take shape in
mm. 9-‐10, and is heard fully formed by m. 29 (Fig. 4).
Fig. 4: Second motive
Bb Coltrane's Solo
Tenor Sax
G7
q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
G7 C7 D¨7
37 38 39 40C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64
C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72
G7 D¨
73 74 75 76
Tenor Sax2
C7 G7
77 78 79 80
D7 C7 G7 D7
81 82 83 84G7 C7 D¨7
85 86 87 88C7 B7 B¨7
89 90 91 92
A C F A¨
93 94 95 96
G7 C7 G7
97 98 99 100
C7 G7
101 102 103 104
D7 C7 G7
105 106 107 108
G7
109 110 111 112
V.S.
C7 G7
113 114 115 116
3 3
Tenor Sax3
C7 G7
77 78 79 80
D7 C7 G7 D7
81 82 83 84G7 C7 D¨7
85 86 87 88C7 B7 B¨7
89 90 91 92
A C F A¨
93 94 95 96
G7 C7 G7
97 98 99 100
C7 G7
101 102 103 104
D7 C7 G7
105 106 107 108
G7
109 110 111 112
V.S.
C7 G7
113 114 115 116
3 3
Tenor Sax3
G7 C7 G7
159 160 161 162
C7 G7
163 164 165 166
D7 G7
167 168 169 170
Tenor Sax5
C7 G7
77 78 79 80
D7 C7 G7 D7
81 82 83 84G7 C7 D¨7
85 86 87 88C7 B7 B¨7
89 90 91 92
A C F A¨
93 94 95 96
G7 C7 G7
97 98 99 100
C7 G7
101 102 103 104
D7 C7 G7
105 106 107 108
G7
109 110 111 112
V.S.
C7 G7
113 114 115 116
3 3
Tenor Sax3
Coltrane periodically extends the eighth notes in this second motive, usually
with the sequencing or juxtaposing of pentatonic and triadic melodic material.
Figure 5a shows an example of the sequenced triads, while Figure 5b shows an
example of the pentatonic and triadic material in tandem.
Fig. 5 a-‐b
a.
b.
This second version is taken one step further to a third variation, wherein
both quarter notes are replaced with eighth notes. This would seem unrelated to
the original motive if not for the fact that the first two eighth notes of each group of
four eighth notes are the same pitch. The repeated pitch gives the sense of a single
quarter note, referencing the sound of the original motive. This version appears in
mm. 103-‐107 and mm. 155-‐158 (Fig. 6a-‐b).
Fig. 6: Third variation of motive
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
T. Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12G7 D¨7
13 14 15 16
C7 C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7
(C) (C) (G)
G7
(C) (D)29 30 31 32
V.S.
A‹7 D7
C Pentatonic
G7
(G)33 34 35 36
Take the CoLtrane
Composed by Duke EllingtonTranscribed by Seth Carper
John Coltrane's Solo from Duke Ellington & John Coltrane, Impulse! A-30
T. Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12G7 D¨7
13 14 15 16
C7 C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7
(C) (C) (G)
G7
(C) (D)29 30 31 32
V.S.
A‹7 D7
C Pentatonic (D)
G7
(G)33 34 35 36
Take the CoLtrane
Composed by Duke EllingtonTranscribed by Seth Carper
John Coltrane's Solo from Duke Ellington & John Coltrane, Impulse! A-30
C7 G7
77 78 79 80
D7 C7 G7 D7
81 82 83 84
G7 C7 D¨7
85 86 87 88
C7 B7 B¨7
89 90 91 92
A C F A¨
93 94 95 96
G7 C7 G7
97 98 99 100
C7
101 102
G7 D7 C7 G7
103 104 105 106 107 108
3 3
Tenor Sax3
Triads, Scales, & Arpeggios
Throughout the solo Coltrane straddles the line between a modal approach
and tonal approach to the blues. His first chorus begins with a modal sound,
addressing the G7 and C7 chords of the first eight measures with Mixolydian pitch
content. In the ninth bar of the first chorus, Coltrane plays up the D Mixolydian
scale from the third, seamlessly connecting the improvised line to a C pentatonic
(also pitches of D Mixolydian), and then returns to the first four pitches up an
octave. This could be looked as V-‐ii-‐V back pedaling, or as all D7 material. Either
way, he ends the line with a second inversion G triad followed by a C pentatonic
pattern (Fig. 7).
Fig. 7: G triad and C pentatonic, mm. 11-‐12
This combination of triads and pentatonic scales is used liberally throughout
the solo. The three triads used are G major, C major, and D major, outlining the
three primary chords of the blues, and the combined the pitches of these triads
account for six of the seven pitches in the home key of G. The triads are usually used
in first and second inversions, which creates the interval of a fourth, resulting in a
more open and modal sound. Figure 8 shows one of the longest uses of the pairing
of the three triads in mm. 29-‐37.
Fig. 8: G, C, and D triads
C7 G7
151 152 153 154D7
155 156 157 158
G7 C7 G7
159 160 161 162
C7 G7
163 164 165 166
D7 G7
167 168 169 170
Tenor Sax5
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
Coltrane made ample use of the pentatonic scale throughout his career. In
this solo, it can be heard in the classic 1-‐2-‐3-‐5 pattern (heard mostly with C-‐D-‐E-‐G)
as well as other less obvious variations (Fig. 9). Other distant key related uses of the
pentatonic scale and triads are discussed later in this paper.
Fig. 9: Pentatonic variations
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2
G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2
C7 G7
77 78 79 80
D7 C7 G7 D7
81 82 83 84G7 C7 D¨7
85 86 87 88C7 B7 B¨7
89 90 91 92
A C F A¨
93 94 95 96
G7 C7 G7
97 98 99 100
C7 G7
101 102 103 104
D7 C7 G7
105 106 107 108
G7
109 110 111 112
V.S.
C7 G7
113 114 115 116
3 3
Tenor Sax3
D7 C7 G7
117 118 119 120
G7 D¨7 G7
121 122 123 124C7 G7
125 126 127 128A‹7 D7 G7 D¨7 G7
129 130 131 132G7
133 134 135 136 137C7 G7
138 139 140 141 142D7
143 144 145 146G7 C7 F©7(#9)
147 148 149 150C7 G7
151 152 153 154D7
155 156 157 158
Bass
Tenor Sax4
D7 C7 G7
117 118 119 120
G7 D¨7 G7
121 122 123 124C7 G7
125 126 127 128A‹7 D7 G7 D¨7 G7
129 130 131 132G7
133 134 135 136 137C7 G7
138 139 140 141 142D7
143 144 145 146G7 C7 F©7(#9)
147 148 149 150C7 G7
151 152 153 154D7
155 156 157 158
Bass
Tenor Sax4
G7 C7 G7
159 160 161 162
C7 G7
163 164 165 166
D7 G7
167 168 169 170
Tenor Sax5
As a way of connecting his more modal and angular lines to the blues
tradition, Coltrane uses diatonic scale fragments, diatonic seventh chords and the
bebop scale. The most commonly used scale fragment is a four note group moving
from F# up to B. This is generally preceded or followed by one of the pentatonic or
triadic figures already discussed (Fig. 10). Diatonic seventh chords help ground the
solo in the key, and Figure 11 shows a few examples of Coltrane’s use of those
arpeggios. In mm. 77-‐79 Coltrane combines the C pentatonic scale with a C7 chord,
resolving the line with a G scale fragment that leads to the third of G. Each of the
three devices’ highest pitches resolves to the next highest pitch, A-‐Bb-‐B (Fig. 12).
Fig. 10: Diatonic scale fragment with pentatonic or triad figures
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2
G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2
D7 C7 G7
117 118 119 120G7 D¨7 G7
121 122 123 124
C7 G7
125 126 127 128A‹7 D7 G7 D¨7 G7
129 130 131 132G7
133 134 135 136 137
C7 G7
138 139 140 141 142
D7
143 144 145 146
G7 C7 F©7(#9)
147 148 149 150
C7 G7
151 152 153 154D7
155 156 157 158
Bass
Tenor Sax4
D7 C7 G7
117 118 119 120G7 D¨7 G7
121 122 123 124
C7 G7
125 126 127 128A‹7 D7 G7 D¨7 G7
129 130 131 132G7
133 134 135 136 137
C7 G7
138 139 140 141 142
D7
143 144 145 146
G7 C7 F©7(#9)
147 148 149 150
C7 G7
151 152 153 154D7
155 156 157 158
Bass
Tenor Sax4
Fig. 11: Diatonic seventh chords
Fig. 12: mm. 77-‐79, All three devices.
Coltrane uses the bebop scale in a few different instances. Each time, the
scale is used as a link between some of the devices discussed above. Figure 13
shows some of these instances.
Fig. 13: Bebop scale and fragments
In the fifth chorus Coltrane makes a marked change to a bluesier sound,
using the G minor pentatonic scale as a blanket over the first eight measures (Fig.
14).
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
C7 G7
77 78 79 80
D7 C7 G7 D7
81 82 83 84G7 C7 D¨7
85 86 87 88C7 B7 B¨7
89 90 91 92
A C F A¨
93 94 95 96
G7 C7 G7
97 98 99 100
C7 G7
101 102 103 104
D7 C7 G7
105 106 107 108
G7
109 110 111 112
V.S.
C7 G7
113 114 115 116
3 3
Tenor Sax3
D7 C7 G7
117 118 119 120G7 D¨7 G7
121 122 123 124
C7 G7
125 126 127 128A‹7 D7 G7 D¨7 G7
129 130 131 132G7
133 134 135 136 137
C7 G7
138 139 140 141 142
D7
143 144 145 146
G7 C7 F©7(#9)
147 148 149 150
C7 G7
151 152 153 154D7
155 156 157 158
Bass
Tenor Sax4
C7 G7
77 78 79 80
D7 C7 G7 D7
81 82 83 84G7 C7 D¨7
85 86 87 88C7 B7 B¨7
89 90 91 92
A C F A¨
93 94 95 96
G7 C7 G7
97 98 99 100
C7 G7
101 102 103 104
D7 C7 G7
105 106 107 108
G7
109 110 111 112
V.S.
C7 G7
113 114 115 116
3 3
Tenor Sax3
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
T. Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12G7 D¨7
13 14 15 16
C7 C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7
(C) (C) (G)
G7
(C) (D)29 30 31 32
V.S.
A‹7 D7
C Pentatonic
G7
(G)33 34 35 36
Take the CoLtrane
Composed by Duke EllingtonTranscribed by Seth Carper
John Coltrane's Solo from Duke Ellington & John Coltrane, Impulse! A-30
G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2
G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2
C7 G7
77 78 79 80
D7 C7 G7 D7
81 82 83 84G7 C7 D¨7
85 86 87 88C7 B7 B¨7
89 90 91 92
A C F A¨
93 94 95 96
G7 C7 G7
97 98 99 100
C7 G7
101 102 103 104
D7 C7 G7
105 106 107 108
G7
109 110 111 112
V.S.
C7 G7
113 114 115 116
3 3
Tenor Sax3
Fig. 14: G minor pentatonic
Substitutions
Coltrane uses many of the devices mentioned above to effectively
communicate his substitutions. Most of these substitutions are clearly defined, with
a few significant exceptions. The most common substitution Coltrane employs is the
tritone substitution in the third and fourth measures of the form before the chord
progression moves to the subdominant. Out of the fourteen choruses of the solo
Coltrane uses the tritone substitution before the IV six times. Each time he uses the
device with a different melodic contour (Fig. 15a-‐f). There is a seventh use of this
device at the same place in the form, mm. 149-‐150, but this use is likely based off
F#7, the tritone substitution of C7 (Fig. 15g).
Fig. 15a-‐b: Tritone Substitutions
a.
b.
c.
d.
G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
Bb Coltrane's Solo
Tenor Sax
G7q=240
2 3 4
C7 G7
5 6 7 8
D7 C7 G7
9 10 11 12
G7 D¨7
13 14 15 16
C7 G7 B7
17 18 19 20
D7 C7 G7
21 22 23 24
G7 D¨7
25 26 27 28
C7 G7
29 30 31 32
V.S.
A‹7 D7 G7
33 34 35 36
Take the CoLtrane Composed by Duke Ellington
Transcribed by Seth CarperJohn Coltrane's Solo
G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2
G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2
e.
f.
g.
Another more adventurous substitution Coltrane uses is found in mm. 41-‐44.
In place of the IV-‐I progression usually found in blues at this point, Coltrane inserts
a series of descending minor seventh chords. These function as upper extensions to
the IV (Gmin7/C), III (F#min7/B) and bIII (Fmin7/Bb) chords. The bIII, Fmin7/Bb,
resolves to the ii (Amin7) chord normally heard in the ninth measure of the blues
progression. In m. 45, Coltrane also begins his line on the fifth of the Amin7 (Fig.
16a). Coltrane uses the same pattern in mm. 89-‐92, the last measure implying an A
diminished scale (Fig. 16b). The resolution is deceptive, however, as he moves from
this point into substitutions that are even more dense.
Fig. 16a-‐b: Upper extension seventh chord substitutions
a.
b.
The next few substitutions are difficult to analyze. It is likely that Coltrane’s
matrix changes are the source of some of these substitutions. Coltrane devised a
C7 G7
77 78 79 80
D7 C7 G7 D7
81 82 83 84G7 C7 D¨7
85 86 87 88C7 B7 B¨7
89 90 91 92
A C F A¨
93 94 95 96
G7 C7 G7
97 98 99 100
C7 G7
101 102 103 104
D7 C7 G7
105 106 107 108
G7
109 110 111 112
V.S.
C7 G7
113 114 115 116
3 3
Tenor Sax3
D7 C7 G7
117 118 119 120
G7 D¨7 G7
121 122 123 124C7 G7
125 126 127 128A‹7 D7 G7 D¨7 G7
129 130 131 132G7
133 134 135 136 137C7 G7
138 139 140 141 142D7
143 144 145 146G7 C7 F©7(#9)
147 148 149 150C7 G7
151 152 153 154D7
155 156 157 158
Bass
Tenor Sax4
D7 C7 G7
117 118 119 120
G7 D¨7 G7
121 122 123 124C7 G7
125 126 127 128A‹7 D7 G7 D¨7 G7
129 130 131 132G7
133 134 135 136 137C7 G7
138 139 140 141 142D7
143 144 145 146G7 C7 F©7(#9)
147 148 149 150C7 G7
151 152 153 154D7
155 156 157 158
Bass
Tenor Sax4
G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2 G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2
C7 G7
77 78 79 80
D7 C7 G7 D7
81 82 83 84G7 C7 D¨7
85 86 87 88C7 B7 B¨7
89 90 91 92
A C F A¨
93 94 95 96
G7 C7 G7
97 98 99 100
C7 G7
101 102 103 104
D7 C7 G7
105 106 107 108
G7
109 110 111 112
V.S.
C7 G7
113 114 115 116
3 3
Tenor Sax3
series of substitutions, often referred to as his “matrix”, that moves in alternating
minor thirds and fourths. The key centers of the substitutions outline an augmented
triad. For example, in place of Cmaj7-‐Amin7-‐Dmin7-‐G7-‐Cmaj7, Coltrane would
insert Cmaj7-‐Eb7-‐Abmaj7-‐B7-‐Emaj7-‐G7-‐Cmaj7. The clearest example in this solo is
found in mm. 93-‐96, where Coltrane outlines part of an A pentatonic in 93 followed
by an E half note, which is perhaps from a C triad, proceeding to an F pentatonic and
ending with a bebop-‐pentatonic combination over Ab. The third of the Ab resolves
to the third of the G7 in measure 97 (Fig. 17).
Fig. 17: Matrix Sub 1
The other use of this matrix substitution in mm. 69-‐71 is less clear. It
appears that Coltrane is implying a similar A-‐C-‐Eb-‐Ab root movement, but is
possibly based solely on the intervallic relationships (Fig. 18).
Fig. 18: Matrix Sub 2
Measures 143-‐147 provide an extended tritone substitution the D7, as
Coltrane uses an Ab pentatonic scale (Fig. 19), or as an A. This longer use of the
pentatonic sound adds to the modal flavor of the solo.
Fig. 19: Tritone substitution Ab Pentatonic
C7 G7
77 78 79 80
D7 C7 G7 D7
81 82 83 84G7 C7 D¨7
85 86 87 88C7 B7 B¨7
89 90 91 92
A C F A¨
93 94 95 96
G7 C7 G7
97 98 99 100
C7 G7
101 102 103 104
D7 C7 G7
105 106 107 108
G7
109 110 111 112
V.S.
C7 G7
113 114 115 116
3 3
Tenor Sax3
G7 C7 D¨7
37 38 39 40
C7 B7 B¨7
41 42 43 44A‹7 D7 G7
45 46 47 48
G7
49 50 51 52
C7 G7
53 54 55 56
D7 C7 G7
57 58 59 60G7 C7 C‹7 G7 G&7
61 62 63 64C7 C‹7 G7
65 66 67 68AD7 C7
C E¨ A¨G7
D7A‹7 D7
69 70 71 72G7 D¨
73 74 75 76
Tenor Sax2
D7 C7 G7
117 118 119 120
G7 D¨7 G7
121 122 123 124C7 G7
125 126 127 128A‹7 D7 G7 D¨7 G7
129 130 131 132G7
133 134 135 136 137C7 G7
138 139 140 141 142D7
143 144 145 146G7 C7 F©7(#9)
147 148 149 150C7 G7
151 152 153 154D7
155 156 157 158
Bass
Tenor Sax4
Phrasing
It is worth discussing a few points regarding Coltrane’s phrasing. Many of his
early musical experiences were with rhythm and blues bands, giving him a firm
grounding in the AAB rhyme scheme of the blues. This can be heard clearly in the
first and tenth choruses (mm. 1-‐12 and 109-‐120). Even when the rhyme scheme is
not explicit, Coltrane’s phrasing often occurs in clear four-‐bar phrases. This clear
phrasing helps keep reinforce the blues form, even when the implied harmony may
be more adventurous.
It is also interesting to note how many of the phrases described throughout
this analysis begin and end on the downbeats as opposed to the syncopations of
other improvisers of the era. Despite this seeming lack of syncopation, the solo
swings nonetheless. This solo serves as a great bridge between Coltrane’s blues
tradition and his later modal explorations.
Bibliography Coltrane, John. Duke Ellington & John Coltrane. Impulse! A-‐30, 1963.
