Reharmonizing ii-V Cycles, Part 2
by Pablo Satek
Here is Part 2 of my article on reharmonization. In general, remember that when substituting harmonies we always respect the concept of the original cadence. The two subs I'll address this month are the flat-3rd substitution and what has come to be known as "Coltrane Cycles" or "Coltrane Changes".
C. The Flat-3 Substitution
The diminished 7th chord could be seen as a dominant 7th with a flat-9 in the bass; for example: Abdim7 (Ab-B-Eb-F) is the equivalent of G7#5b9 or G7 altered (G B D F) which share the 3rd and the 7th. We can move this dominant chord in minor thirds just as with the diminished chords; the result is the Diminished Cycle:
| G7 |
Bb7 |
Db7 |
E7 [enharmonic spelling of F-flat] |
| Ex.1 Original: |
Dm7 |
G7 |
Cmaj7 |
Cmaj7 |
| With b3 Subs : |
Dm7 |
Bb7 |
Cmaj7 |
Cmaj7 |
|
Dm7 |
Db7 |
Cmaj7 |
Cmaj7 |
|
Dm7 |
E7 |
Cmaj7 |
Cmaj7 |
We can also add the related ii m7 chord:
| Ex.2 Original: |
Dm7 |
G7 |
Cmaj7 |
Cmaj7 |
| b3 Subs : |
Fm7 |
Bb7 |
Cmaj7 |
Cmaj7 |
and the related ii m7 chord:
| Abm7 |
Db7 |
Cmaj7 |
Cmaj7 |
| Bm7 |
E7 |
Cmaj7 |
Cmaj7 |
We get different G7 sounds with each of these dominant substitutions as all of the G7s are altered.
| G7...... |
original |
| Bb7..... |
G7#5b9 |
| Db7..... |
G7b5b9 |
| E7...... |
G7b9 |
Pluralities (same chord tones, different roots)
G13 = Dm9 = Fmaj7
Bb13 = Fm9 = Abmaj7
Db13 = Abm9 = Bmaj7
E13 = Bm9 = Dmaj7
The above chords are interchangeable; i.e., you could substitute:
a Dm9 for a G13 or an Fmaj7
or
an Fmaj7 for a Dm9 or a G13:
Notewise, the breakdown is as follows:
G13: G B D F E This is a Dm9, 13, or 6 (with G in the bass)
Dm9: D F A C E This is also a G7 9 11 13 (with no root) or an Fmaj7 13
Fmaj7: F A C E This is also a G7 9 11 13 (with no 3rd and no root)
D. Coltrane Cycles
In the 60s, John Coltrane developed a harmonic system based on the "Augmented Cycle"; that is, he used the augmented chord motion of major thirds to create yet another way to substitute within the original cadence.
Based on the augmented triad, we get the following chords:
| C |
E |
G# |
| B |
D# |
G |
| A |
C# |
F |
| Bb |
D |
F# |
The "Giant Steps" Cycle
In addition to the Major 3rd motion between roots of major chords, Coltrane would add the appropriate dominant 7th before each major chord in the augmented cycle.
Augmented Cycle (clockwise):
C / E / G# / C /
The Augmented Cycle with respective dominant 7th chords added:
C B7 / E D#7 / G# G7 / C /
Augmented Cycle (counter-clockwise)- like the original "Giant Steps" progression:
C / G# / E / C /
Augmented Cycle with added Dominant 7 chords:
C D#7 / G# B7 / E G7 / C /
Now let's state the augmented progression in the original "Giant Steps" key of B:
Augmented Cycle: B / Eb / G / B /
And finally, the augmented cycle with Dominant 7th chords added:
B D7 / G Bb7 / Eb F#7 / B /
Another possibility: B Bb7 / Eb D7 / G F#7 / B /
Countdown Cycle
The following cycle is the same as
Coltrane's "Giant Steps" cycle but begins on the ii m7 chord of the original tonality.
This composition is based on Miles Davis' "
Tune Up" cadence:
Original: Em7 / A7 / D / D /
Countdown Cycle: Em7 F7 / Bb Db7 / Gb A7 / D /
"Giant Steps" Cycle: D F7 / Bb Db7 / Gb A7 / D /
This concludes my two-part article on reharmonization. I hope you will use these concepts to further explore harmonic function. Try to use these cycles as substitutes for chord progressions in virtually any tune; This approach will enable you form a new melodic/harmonic sense of the same old songs, and lead to other ways to expand your improvisation vocabulary.
Peace,
Pablo
Here's the "A" section of the standard "Fall Leaves" where I present some substitutions using "Coltrane Cycles".
About the Author:
PABLO SATEK
Guitarist/educator Pablo Satek was born in San Fernando, BA, Argentina in 1973 and began taking guitar lessons at the age of sixteen. Inspired by the Beatles, he started his first band while in high school and played rock n’ roll and blues. His musical perspective was altered through listening to Charlie Parker, Miles Davis, and John Coltrane and he began to focus on jazz studies. Among his teachers were Sacri Delfino, Luís D’Agostino, Marcelo Kitai, Ernesto Jodos, and Pino Marrone.
In 1999 Pablo completed a degree in music at the I.T.M.C., a branch of the Guitar Institute of Technology (GIT) in Los Angeles. In Argentina, he also participated in clinics and workshops with Scott Henderson, Sid Jacobs, Armand Sabal-Lecco (Paul Simon’s bassist), John Stowell, and Robben Ford. Later he was fortunate to study briefly with Joe Diorio in Los Angeles, and John Abercrombie in New York.
Discography
2002 Pablo Satek- Solo Jazz Guitar (transcription book available from author)
2004 Beatles for Solo Guitar (transcription book available from author)
PABLO SATEK in Concert
Basic Triology
Besides his career as a solo musician Pablo performs with his trio S3JAZZ with Agustín Strizzi on drums and Martín Schavelzón on double bass. Pablo is a columnist for El Guitarrista magazine and can be heard on tours of North and South America and Europe where he appears as a clinician and performer in various jazz festivals. Pablo currently teaches at the I.T.M.C. in Argentina.
For more information about Pablo Satek, please visit his website at:
www.pablosatek.com.ar
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