Coltrane's "Giant Steps" - new Encyclopedia page

Hello all,

I've just made a short Encyclopedia page with an analysis
of the chord progressions and key changes of John Coltrane's
"Giant Steps":

http://tonalsoft.com/monzo/coltrane/coltrane_giant-steps.aspx

My intention is to explore this tune in various non-12-edo
tunings. The first one i've made is a version in 31-edo.
It's available from the webpage in the following formats:

* Tonescape: .tonescape Musical Piece
* MIDI: .mid file
* Csound: .csd unified file
* audio: .wav file

If anyone would like to convert the .wav into an
.ogg and/or .mp3, i'll put that up there as well.

-monz

email: joemonz(AT)yahoo.com
http://tonalsoft.com
Tonescape microtonal music software

--- In tuning@yahoogroups.com, "monz" <monz@...> wrote:

> I've just made a short Encyclopedia page with an analysis
> of the chord progressions and key changes of John Coltrane's
> "Giant Steps":
>
> http://tonalsoft.com/monzo/coltrane/coltrane_giant-steps.aspx
>
>
> My intention is to explore this tune in various non-12-edo
> tunings. The first one i've made is a version in 31-edo.
> It's available from the webpage in the following formats:
>
> * Tonescape: .tonescape Musical Piece
> * MIDI: .mid file
> * Csound: .csd unified file
> * audio: .wav file

Of course i'm encouraging everyone who has Windows
to try the Tonescape version ... this unique chord
progression really looks great cycling around the
Lattice, particularly the "crumpled napkin" version.

-monz

email: joemonz(AT)yahoo.com
http://tonalsoft.com
Tonescape microtonal music software

OK Monz;

I have taken your challenge.

You can find the LucyTuned version in this folder:

http://www.lucytune.com/Monz/

I didn't do a full chordal analysis or think too much about it. I just stripped out all the pitchbend commands, and let my ears guide me as to which chords required sharps and which chords flats.

This rendition is simple grand piano, no effects, produced by bouncing the two bounced midifiles from the EXS Sampler; one file using 0b5s, the other 5b0s LTtuning codes.

The codes are freely available here:

http://www.lucytune.com/midi_and_keyboard/pitch_bend.html

This composition already sounds good in the ambiguity of 12edo, nevertheless I believe that I have chosen the most obvious and consonant interpretation of the tonality as I heard it.

Judge for yourselves. Comments/corrections welcomed

Charles Lucy lucy@lucytune.com

----- Promoting global harmony through LucyTuning -----

For information on LucyTuning go to: http://www.lucytune.com

LucyTuned Lullabies (from around the world):
http://www.lullabies.co.uk

Skype user = lucytune

http://www.myspace.com/lucytuning

On 5 Nov 2007, at 20:57, monz wrote:

> --- In tuning@yahoogroups.com, "monz" <monz@...> wrote:
>
> > I've just made a short Encyclopedia page with an analysis
> > of the chord progressions and key changes of John Coltrane's
> > "Giant Steps":
> >
> > http://tonalsoft.com/monzo/coltrane/coltrane_giant-steps.aspx
> >
> >
> > My intention is to explore this tune in various non-12-edo
> > tunings. The first one i've made is a version in 31-edo.
> > It's available from the webpage in the following formats:
> >
> > * Tonescape: .tonescape Musical Piece
> > * MIDI: .mid file
> > * Csound: .csd unified file
> > * audio: .wav file
>
> Of course i'm encouraging everyone who has Windows
> to try the Tonescape version ... this unique chord
> progression really looks great cycling around the
> Lattice, particularly the "crumpled napkin" version.
>
> -monz
>
> email: joemonz(AT)yahoo.com
> http://tonalsoft.com
> Tonescape microtonal music software
>
>
>

Monz!

This is really cool. Giant Steps is one of my all time fav's,
and I like how it sounds in 31.

One question: why are you using "z" and "x" for your
chord symbols? It makes the progression look weird,
and actually it looks incorrect because "x" normally
"double sharp". Why not use the standard notation?

major 7 = M7
minor 7 = m7
dominant 7 = 7
half diminished 7 = m7b5
diminished 7 = º7

Yours,
Aaron Hunt
H-Pi Instruments

--- In tuning@yahoogroups.com, "monz" <monz@...> wrote:
>
> Hello all,
>
>
> I've just made a short Encyclopedia page with an analysis
> of the chord progressions and key changes of John Coltrane's
> "Giant Steps":
>
> http://tonalsoft.com/monzo/coltrane/coltrane_giant-steps.aspx
>
>
> My intention is to explore this tune in various non-12-edo
> tunings. The first one i've made is a version in 31-edo.
> It's available from the webpage in the following formats:
>
> * Tonescape: .tonescape Musical Piece
> * MIDI: .mid file
> * Csound: .csd unified file
> * audio: .wav file
>
> If anyone would like to convert the .wav into an
> .ogg and/or .mp3, i'll put that up there as well.
>
>
> -monz
>
> email: joemonz(AT)yahoo.com
> http://tonalsoft.com
> Tonescape microtonal music software
>

Hi Aaron,

--- In tuning@yahoogroups.com, "Aaron Andrew Hunt" <aahunt@...> wrote:
>
> Monz!
>
> This is really cool. Giant Steps is one of my all time fav's,
> and I like how it sounds in 31.

Thanks. Actually, i was a little surprised at how
good it sounds in 31-edo, because 31-edo is not a
member of the augmented family and that is the
hallmark of the key changes in this tune.

I suppose it works so well because of my intuition
that 31-edo's good approximations to prime-factors
5 and 7 would work well for jazz in general.

> One question: why are you using "z" and "x" for your
> chord symbols? It makes the progression look weird,
> and actually it looks incorrect because "x" normally
> "double sharp". Why not use the standard notation?
>
> major 7 = M7
> minor 7 = m7
> dominant 7 = 7
> half diminished 7 = m7b5
> diminished 7 = º7

I thought about doing it that way, but really
wanted to just use single-character symbols to
represent the chord quality.

In jazz theory i always understood it to be common
to use "x" to represent the "dominant-7th" quality.
Using words instead of the actual symbols where
ASCII doesn't provide the symbols, these are the
abbreviations i know as "standard" for the five
types of jazz chords:

triangle = major-7th
m = minor-7th
x = dominant-7th
circle with diagonal line thru it = half-diminished-7th
circle = diminished-7th

Anyway, the analysis doesn't take much space on
the webpage, so maybe i'll just reproduce it with
the other symbols too.

> --- In tuning@yahoogroups.com, "monz" <monz@> wrote:
> >
> > Hello all,
> >
> >
> > I've just made a short Encyclopedia page with an analysis
> > of the chord progressions and key changes of John Coltrane's
> > "Giant Steps":
> >
> > http://tonalsoft.com/monzo/coltrane/coltrane_giant-steps.aspx

-monz

email: joemonz(AT)yahoo.com
http://tonalsoft.com
Tonescape microtonal music software

--- In tuning@yahoogroups.com, "monz" <monz@...> wrote:
> In jazz theory i always understood it to be common
> to use "x" to represent the "dominant-7th" quality.

I don't know anybody who uses x for a dominant chord,
and have never seen this in any fakebook. The standard
is just a 7.

> these are the
> abbreviations i know as "standard" for the five
> types of jazz chords:
>
> triangle = major-7th
> m = minor-7th
> x = dominant-7th
> circle with diagonal line thru it = half-diminished-7th
> circle = diminished-7th
>

The triangle is used more in manuscript and Abersold
but not as much in Realbooks / Fakebooks. If the
triangle is used, then a minus sign - is also used
for minor chords and -7 for minor 7ths. The x is
just not used as far as I know. The circle with the line
through it is sometimes used, but 99% of the time it is
written m7b5 (minor 7 flat 5) instead. The circle for
diminished 7 is standard.

Cheers,
Aaron Hunt
H-Pi Instruments