The examples here use ONLY the notes of the C minor Coltrane pentatonic.
The harmonic accompaniment varies so as to show over just how many chords it is possible to superimpose this Coltrane
pentatonic.
The notes of the C minor Coltrane Pentatonic are 1, 2 ,min 3, 5 + natural 6th
Features include:
Groups of 3, 4, 5, 6 & 7 notes
Non Diatonic Appoggiaturas +
Approach Notes.
The 70 page digital Pdf contains versions that are suitable for Sax, Flute, Clarinet, Trumpet, Piano, Guitar and other Treble instruments in ALL 12 keys.
BREAK THE RULES!
8 turnaround possibilities every budding Jazz player needs to know- that you can superimpose on top of the regular chord changes, even though it is not strictly correct academically as they create dissonances and non chord tones etc!
It starts in F major, then moves to the relative minor D minor.
Then it modulates to the parallel major D Major. Then Back to D minor and finishes where it started in F.
Hope You like it.
It is available https://t.co/nNmdmtS86B
search "Choro" or "Chorinho"
I wrote this chorinho a while back (20 years) when I first became fascinated by Brazilian music as a study to challenge myself. ( I am still working on it)
It features Chromatic Approach notes, Odd group numbers, Multiple key signatures and a bebop bridge.
I have been fascinated with the idea of
superimposing pentatonics on to Coltrane´s
Giant Steps beautiful chord sequence.
“Skipping” notes of the Pentatonic
yields alot of 4ths and as well produces lines with
considerable range and a feeling of openness.
Giant steps pentatonic exercise. I wanted to see how pentatonics sounded like superimposed over the chords of Giant steps. More specifically if a “skipped” pentatonic would produce a different sound feeling over Coltrane´s famous harmony compared to the “closer” 1,2,3,5 patterns.