re-recent focus here on "Giant Steps"
1.the giant steps ii-v's
the reason i selected this as an example to begin with is that this tune has been turned into an instrument of self-torture by so many players,which is certainly not where the composer was coming from. i picture him turning over in his grave everytime another neophyte goes all out trying to play this as fast as possible or when it's used to create division and bad vibes by being treated as a vehicle that is only played to "prove something" or else avoided as being "too hard" for a beginner to even think about trying to play,much less come up with an approach to.(granted,the standard of performance level established with giant steps has become accepted as a given and i do not want anybody reading this to get the impression from the above that i am challenging this,far from it.this tune is played up,this is the art form,to be respected as such,and this level of playing skill to be aspired to.)
the giant steps changes themselves(here i'm referring to the succession of m3 cycle)have been dealt with in great detail in a lot of places).this exercise is on the ii-v's,it can be applied to any ii-v once you understand it.it is intended to be played slow,to get your ears working...... i included a way of moving back into the m3 section at the bottom.you'll notice i used a lot of color tones,if your neighbors are complaining about what you've been practicing,try this out on them.....don't forget these ideas can serve as both a springboard to derive all kinds of lines and patterns from(see next example) or as the upper note in your voicings.
fm7 eb c g d eb d bb g
bb7 d eb f c d c g bb
ebmaj7 bb d d bb g g f d
am7 b e b g b f# g d
d7 f# b b g g f# g d
gmaj7 a a f# d d a d b
c#m7 b a# f# f# d# a# a# d#
f#7 a# f# d d# f# g# g# c#
bmaj7 f# d# a# c# a# c# f# c#
fm7 g d bb eb bb eb g bb
bb7 f g g d g d eb g
ebmaj7 d f f d d bb f f
c#m7 d# g# a# a# d# a# g# d#
f#7 f# e d# c# a# g# f# a#
bmaj7 f# d# c# d# f# f# d# c#
what each column gives you is a melodic line, respecting natural melodic principles like voice leading at times,other times moving from note to note in ways similar to the type of melodies used by john coltrane and mccoy tyner in the 60's.(it's up to you to decide the direction when there are intervals.)
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