![]() ![]() So we can change key using the following intervals: You can change key centres by any (fixed repeating) interval and it will sound good precisely because the interval is fixed and repeating (again, this is very similar to the idea of Cycled Patterns). We will discuss reharmonization (and the importance of structure in reharmonization) in detail in the next module.Īnd of course, there’s no reason to stick to only modulating in intervals of Major 3rds. Well, Coltrane Changes work well in a reharmonization because the chords move in a structured way (i.e. We already discuss the importance of ‘structure’ in music in a previous lesson (on Cycle Patterns). ![]() ![]() But Coltrane was the first person to use this technique extensively in Jazz.Ĭoltrane Changes can be used to reharmonize the following progressions: This technique had been used before (See Section B of Have You Met Miss Jones?). John Coltrane did NOT invent modulation through intervals of Major 3rds. Note: The keys through which Coltrane Changes modulate create an Augmented Triad: C, A♭, E, C. Historically, early Jazz Standards generally modulate (change key/key centre/tonal centre) in one of three ways:īut why only use these intervals when modulating? Why can’t we use other intervals? Well, this is the idea behind Coltrane Changes – they change keys by intervals of Major 3rds (E Major to C Major). ![]()
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