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corrected an error: the intervals from B to G, G to E♭, and E♭ to B are minor sixths, not an augmented fifths. |
corrected my error: the intervals from B to G and G to E♭ are minor sixths but E♭ to B is an augmented fifth. To complete an octave properly, we cannot do so with three major thirds — one of those intervals has to be the enharmonically-equivalent diminished fourth. This is a bit didactic, so I'm leaving it as a comment. The same logic holds for the minor sixths and the enharmonically-equivalent augmented fifth. |
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==Musical characteristics==
{{Listen|filename=Giant Steps.ogg|title=Giant Steps|description=From ''Giant Steps'' (1960)|format=[[Ogg]]}}
From beginning to end, "Giant Steps" follows alternating [[Modulation (music)|modulations]] of major third and minor sixth [[Interval (music)|intervals]] (with diminished fourth and augmented fifth intervals between B and E♭). Its structure primarily contains [[Ii–V–I progression|ii-V-I]] harmonic progressions (often with [[chord substitution]]s) circulating in thirds.<ref name="Whaley 2004" /> The chords and patterns in "Giant Steps" reflect those found in Coltrane's compositions "Central Park West" and "Countdown", and his version of the Gershwins' song, "[[But Not for Me (song)|But Not For Me]]."<ref name="Kofsky 1998" />
In a 2018 interview, [[Quincy Jones]] said that the work was based on an example in [[Nicolas Slonimsky]]'s ''Thesaurus of Scales and Melodic Patterns''. Jones stated, "Everyone thinks Coltrane wrote that, he didn’t. It’s Slonimsky. That book started all the jazz guys improvising in [[Twelve-tone technique|12-tone]]. Coltrane carried that book around till the pages fell off".<ref>{{Cite news |last=Marchese |first=David |date=7 February 2018 |title=In Conversation: Quincy Jones |work=Vulture |url=https://www.vulture.com/2018/02/quincy-jones-in-conversation.html |access-date=5 November 2019}}</ref>
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