Christmas Carols Using Coltrane Changes

I.  Definition

There are plenty of internet resources on what Coltrane changes are so we will only provide a short overview here.

The changes Bmaj7 – D7 – Gmaj7 – Bb7 – Ebmaj7 is the opening of Giant Steps.  It spans 3 keys, B, G, and Eb. 

Those keys are a major third apart and they sit far away from each other on the Circle of Fifths, hence the title “Giant Steps.”  

In reharmonizing jazz standards, you can take any II – V – I progression and put these changes into it by going up a half-step from the II chord to begin the cycle.

(Please note, I use a harmonic analysis system based on John Mehegan’s classic book “Tonal and Rhythmic Principles” which doesn’t lower case the Roman Numerals for minors, and uses the following symbols:  ∆ = major, x = dominant,  – = minor, Ø = half-diminished or m7b5, and o = diminished,.)

Standard Changes – key of C

II (Key C)	V	I	%
Dm7	G7	Cmaj7	%

 

Standard II – V – I Reharmonized with Coltrane Changes

II V (key C) (key Ab)	I V (key E)	I V (key C)	I
Dm7 Eb7	Abmaj7 B7	Emaj7 G7	Cmaj7

 

In the above example we have 3 keys: Ab, E, and C and they are a major third apart, which is the same relationship as in Giant Steps. 

Over each key change is the V chord to the I chord in that particular key, as indicated.  

If you are not familiar with this type of reharm, it would be good to write them out in 12 keys, so I’ll give you one more example:

Standard Changes – key of F

II (key F)	V	I	%
Gm7	C7	Fmaj7	%

Standard II – V – I Reharmonized with Coltrane Changes 

II V (key F) (key Db)	I V (key A)	I V (key F)	I
Gm7 Ab7	Dbmaj7 E7	Amaj7 C7	Fmaj7

 

II.  Why Christmas Carols?

So if the reharmonization technique can be used on any jazz standard, why an article specifically about Christmas Carols? 

Notice in the above examples that it takes 3 bars of reharm before the I chord comes in bar 4. 

This is fine if the I chord in the standard changes stays the same in bars 3 and 4. 

It’ll also be fine if the chord in bar 4 is diatonic to the key (like Am in the key of C, as in a II – V – I – VI progression).

But if bar 4 takes you somewhere else, you may have to be bit creative with how use the reharm.  

For example, suppose you have:

II (key C)	V	I	VII IIIx
Dm7	G7	Cmaj7	Bm7b7 E7

 

VI	IIx	II V	I
Am7	D7	Dm7 G7	Cmaj7

 

In order to use Coltrane changes in the first 4 bars you might have to go:

II V (key C) (key Ab)	I V (key E)	I V (key C)	I VII IIIx
Dm7 Eb7	Abmaj7 B7	Emaj7 G7	Cmaj7 / Bm7b5 E7

 

VI	IIx	II V	I
Am7	D7	Dm7 G7	Cmaj7

 

So notice that when you “resolve” to C, the underlying harmony as written in the original version of the tune is not really on C anymore, and you’re, in a sense, shoving a round peg in a square hole. 

(And, as experienced guitarist know, if you’re trying to pull off this reharm on the fly with a bass player who is not expecting them, it can sound quite unusual indeed, so a word to the wise:  play it confidently and play it clearly if you’re going to do it spontaneously or it will just sound wrong.)

Fortunately, in a lot of Christmas carols, there are many sections where the I chord doesn’t come until bar 4. 

That makes them perfect for Coltrane reharmonizations.  

III.  Examples

Christmas Song