Examples of songs with Coltrane changes include John Coltrane’s “Giant Steps,” “Countdown,” “26-2,” “Satellite,” “Exotica” and “Fifth House,” plus his arrangements of “But Not for Me” and “Body and Soul.” Coltrane changes are a set of chord substitutions for the ii–V–I progression in which the key centers move by major thirds, for example from C to A-flat to E and back to C. That root movement by thirds is unusual in jazz, where movement around the circle of fifths is the norm.
The substitution is also called the Coltrane matrix or cycle, chromatic third relations, multi-tonic changes or the Countdown formula. Here are the recordings and compositions where you can hear it, starting with the earliest.
1. “Three Little Words” (John Coltrane, Bags & Trane)
Coltrane first demonstrated these substitution patterns on two albums, and “Three Little Words” on Bags & Trane is one of them. It is a chance to hear the idea before it became the basis of his own tunes.
2. “Limehouse Blues” (Cannonball Adderley Quintet in Chicago)
The other early demonstration is “Limehouse Blues,” from the album Cannonball Adderley Quintet in Chicago, on which Coltrane played.
3. “Giant Steps” (John Coltrane)
The title track of the 1960 album Giant Steps is the most famous example. The opening bars move down by major thirds through B, G and E-flat, and the second section climbs through ii–V–I progressions a major third apart. The first eight bars use a shortened version of the cycle that does not return to the starting chord.
4. “Countdown” (John Coltrane)
“Countdown” is a reharmonized version of “Tune Up.” The ii–V–I progressions of the original are still there, but extra chords from the major-thirds cycle are packed in between them, two beats per chord, so the tune sounds unrelated to its source. In “Countdown” the cycle starts on the ii chord each time.
5. “26-2” (John Coltrane)
“26-2” is a reharmonization of Charlie Parker’s “Confirmation” using the standard Coltrane substitution.
6. “Satellite” (John Coltrane)
“Satellite” is based on the standard “How High the Moon,” with Coltrane’s substitution laid over its harmony.
7. “Exotica” (John Coltrane)
“Exotica” is loosely based on the harmonic form of “I Can’t Get Started” and uses the standard substitution.
8. “But Not for Me” (John Coltrane arrangement)
Coltrane’s arrangement of this standard applies the changes to a well-known song, so it is a good one to compare with a conventional version.
9. “Body and Soul” (John Coltrane arrangement)
In Coltrane’s arrangement of “Body and Soul,” the substitution appears in the bridge.
10. “Fifth House” (John Coltrane)
“Fifth House” is based on “Hot House,” which itself uses the chords of “What Is This Thing Called Love?” Here the substitution is only implied over an ostinato bass line, with no chord instrument told to play the changes. Coltrane’s solo superimposes the progression over the bass.
11. “Lazy Bird” (John Coltrane)
This earlier Coltrane piece features two tonal centers a major third apart in its A section. Coltrane named it after Tadd Dameron’s “Lady Bird.”
12. “Have You Met Miss Jones?” (Richard Rodgers, 1937)
This is not a Coltrane tune but a precursor. The bridge of the Richard Rodgers song modulates through B-flat, G-flat and D, keys a major third apart. “Giant Steps” and “Countdown” may both have taken the idea for their cycles from it.
What Makes Coltrane Changes
- A ii–V–I replaced: start with Dm7, G7, C, C and substitute two chords for each of the first three.
- Major-third key centers: the result, Dm7 E-flat7, A-flat B7, E G7, C, briefly visits A-flat and E, both a major third from C.
- Dominant before each new key: each temporary key is approached by its own V7 chord.
- An augmented triad: the three key centers form an augmented triad, an equilateral triangle on the circle of fifths.
Final Thoughts
Coltrane changes are now a standard advanced substitution in jazz improvisation. Listen to “Giant Steps” first, then “Countdown” next to the original “Tune Up” to hear what the substitution adds. For the progressions it builds on, see these songs with a ii–V–I progression, these songs with a circle of fifths progression and these songs with key changes.
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