From: fullerto@tuna.cis.ohio-state.edu (timothy dwight fullerton)
Subject: Re: Coltrane substitutions...???
Organization: The Ohio State University Dept. of Computer and Info. Science
Date: Sat, 29 Aug 1992 04:48:39 GMT

In article <1992Aug26.140201.26712@cam.compserv.utas.edu.au> cmurray@esk.compserv.utas.edu.au (Christopher John Murray) writes:
>     I came across this term in a book on jazz improvising..
>
>		o...What is it?
>
>		o...How does it work?



	Basically, the substitution is based on the changes to 
"Countdown" or "Giant Steps." Say you have the very standard
progression II-7 -- V7 -- Ima7:

	|Dmi7		|G7		|Cma7		|		|.

	this becomes:

	(Dmi7)	         (G7)   	(Cma7)
	|Dmi7      Eb7  |Abma7      B7  | Ema7      G7  |Cma7   	|.

The Eb7 is a secondary dominant to Abma7. 
The Abma7 can easily be heard as a G7 alt, (or G+11(b9) if you want 
	to be picky).

B7 is a secondary dominant to E.

Ema7 is a surprise. Emi would be the expected diatonic choice, but 
given the sequence, Ema is how it works. Still, it can be heard as 
C+ma7
G7 is V.
Cma7 is I.

To carry it farther out, a common Jazz device is to include the II 
	chord to each V.

	|Dmi	Bbmi Eb7|Ab	F#mi  B7 |E	Dmi G7|C	
or:
	|Dmi G7	Bbmi Eb7|Ab	F#mi  B7 |E	Dmi G7|C	

even farther out... put a #11 on each major chord, or any alteration 
on each Dominant.



>		o...Does it sound *good*?



	Many people love it, many do not.


>	or does it make you sound like:
>
>			1...	An egotistical I-know-all-the-
>				fancy-theory-so-you-can-all-go-to-hell-
>				fake-jazz-guitarist. 
>
>			2...	I'm-a-real-wannabe-just-look-at-my-
>				fancy-scales.
>
>			3...	Marty Freidman (see both of the above)
>
>		If used in the context of rock guitar solos...
>

	Woah...pretty critical, derogatory, and alienating.

	When I have tried to use too much harmonic color or outside 
playing in an existing rock song, it has usually sounded inappropriate.
Conversely, Rock vocabulary in Bebop also fails. If you want to use a 
rock tone and feel with Jazz harmonic structures and feel, it usually 
comes off as fusion. My favorites to listen to along this line are Alan 
Holdsworth for his use of chords, and Scott Henderson for his soloing.

	I have heard taste and lack thereof in every context. Some 
people can play through these chord changes beautifully, others find
them monstrously difficult. Many Jazz players have a lot of taste,
many do not. The same holds true for Rock players.

	Trained as a Jazz musician, there was a time when I used my 
training and education to feel better about myself, and looked down 
upon people who never progressed beyond Rock. Since then, I have 
decided that I liked Rock first, and I like it better. I mention this 
because I am sure that my old attitude stepped on some people's 
feelings and they probably copped some resentment over it.

	In case you developed your attitude as the result of someone 
stomping on your feelings for what you like, allow me to apologize on 
behalf of the Jazz/Fusion community. I now allow anyone the luxury of 
liking whatever style of music that they want to listen to and produce,
whatever I may think of its depth or aesthetic appeal; or their taste, 
training, skill, or intellect. Would it not be great if everyone gave 
everyone else the same luxury?

		Have a good one.
			Tim Fullerton.

P.S.	Did you ever notice that you can sing "John Coltrane is dead" to 
	the melody of "Giant Steps.":-)
Newsgroups: alt.guitar