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Giant Steps Exercises 1 - E b Major

Applying some common chord substitutions over John Coltrane's "Giant Steps" can help make
chord connections sound more fluid and less angular. In the following exercises, The tonic
augmented scale is used heavily. The eighth note II-V lines are based on the following
harmonies:

Original Chords: The original II-V, as printed in the original composition


Minor 3rd Substitution: The II-V a minor third interval higher than the original II-V
Tritone Substitution: The II-V a tritone (minor 5th) interval higher than the original II-V
The lower fragment of the II is commonly used.
The upper fragment of the II is used occasionally and is annotated as "Upper Fragment:"
Note that the chord tone resolution below
(Measures 4-5)

B b7
(measure 5, beat 1) changes with each line:

b œ ˙
& b b c ‰ œ nœ bœ nœ nœ œ
A m7 D7 G M7
Original Chords
(lower fragment): n˙

B b7
˙
C m7 F7

bb ‰ œ œ b œ œ n œ œ œ ˙
A m7 D7 G M7

b
Minor 3rd Substitution
(lower fragment): &
E b m7 A b7
B b7
bb b ‰ b œ œ n œ b œ œ œ b œ n G˙ M7 ˙
A m7 D7

&
Tritone Substitution
(lower fragment):
b
b B˙ 7
Upper

b œ #œ nœ nœ #œ œ nœ #˙
Fragment: A m7 D7 G M7

&bb ‰
Original Chords
(upper fragment):

Using these exercises to understand the


Geometry of Augmented Scale Theory:
The original II-V stems from the Dominant Augmented Scale (Blue triangle to the right).
The minor 3rd sub. (emphasizing II) stems from the Subdominant Augmented Scale (Green triangle to the left).
The tritone sub. (emphasizing II) stems from the Tonic Augmented Scale itself.
The original II chord's upper fragment also implies Subdominant Augmented Scale.

© Javier Arau (ASCAP). For more about Augmented Scale Theory, visit www.JavierArau.com
Giant Steps Exercises 1 - E b Major
1

Chorus 1: Original Chords


b E b M7
b #˙ ˙ b B˙ 7 w
& b b #˙ ‰ œ nœ bœ nœ nœ œ œ
B M7 D7 G M7 A m7 D7

B b7 E b M7 G b7 b
b
G M7
˙ ˙ b˙ w
B M7
b œ œ b œ Bœ 7n œ œ œ
F m7

& b b n˙ ‰

E b M7 D b m7 G b7
w
b ‰ œ nœ bœ nœ nœ œ œ ‰ nœ bœ œ bœ œ nœ #œ
A m7 D7 G M7

&bb nw

b b D b m7 G b7
b œ œ b œ Bœ 7n œ œ œ Ew M7
b #w ‰ nœ bœ œ bœ œ nœ #œ
B M7 F m7

&bb ‰

Chorus 2: Minor 3rd chord substitutions


B b7 E b M7

C m7

n˙ w
F7

b #˙ œ
& b b #˙ ‰ œ œ bœ œ nœ œ
B M7 D7 G M7 A m7 D7

A b m7 D b7
B b7 E b M7 G b7 B b7
˙ ˙ b˙
bb ˙ w ‰ nœ bœ nœ bœ œ nœ #œ
G M7 B M7 F m7

& b

E b M7 D b m7 G b7
œ #œ nœ nœ #œ œ nœ
C m7 F7 E m7 A7

b œ w
‰ œ œ bœ œ nœ œ
A m7 D7 G M7

&bb w ‰
A b m7 D b7
B b7 E b M7 D b m7 G b7
nœ bœ nœ bœ œ nœ #œ bw œ #œ nœ nœ #œ œ nœ
E m7 A7

b #w
B M7 F m7

b
& b ‰ ‰

© Javier Arau (ASCAP). For more about Augmented Scale Theory, visit www.JavierArau.com
Giant Steps Exercises 1 - E b Major - Javier Arau 2

Chorus 3: Tritone chord substitutions


E b m7 A b7
B b7 E b M7
#˙ n˙ w bœ œ nœ bœ œ œ bœ
bbb ˙ ˙
B M7 D7 G M7 A m7 D7

& ‰

B b7 E b M7 G b7 B b7
bb b n ˙
G m7 C7 B m7 E7

˙ ‰ œ nœ bœ œ nœ œ œ #˙ ‰ œ #œ nœ nœ #œ œ nœ
G M7 B M7 F m7

& #˙
E b m7 A b7
E b M7 D b m7 G b7
G m7 C7

b ˙ ‰ œ nœ bœ œ nœ œ œ
A m7 D7 G M7

b
& b ˙ ‰ bœ œ
nœ bœ œ œ bœ n˙ ˙
B b7 E b M7 D b m7 G b7
B m7 E7 G m7 C7

b ‰ œ #œ nœ nœ #œ œ nœ ˙
& b b #˙ ‰ œ nœ bœ œ nœ œ œ
B M7 F m7

#˙ ˙
Note that each chorus that mixes chord
Chorus 4: Mixing chord substitutions substitutions includes eighth-note lines
that are separated only by half step.
B b7 E b M7
b ‰ œ nœ bœ nœ nœ œ œ
& b b #˙
B M7 D7 G M7 A m7 D7

n˙ n˙ b˙ w
A b m7 D b7
B b7 E b M7 G b7 B b7
b ˙ ˙ b˙ w ‰ nœ bœ nœ bœ œ nœ #œ
G M7 B M7 F m7

& b b n˙

E b M7 G M7 Fragment: D b m7 G b7
Upper

b ‰ œ nœ bœ nœ nœ œ œ nw ‰ nœ bœ nœ bœ œ nœ #œ
A m7 D7

&bb w
A b m7 D b7
B b7 E b M7 Fragment: D b m7 G b7
Upper

b ‰ nœ bœ nœ bœ œ nœ #œ b˙ ˙ ‰ nœ bœ nœ bœ œ nœ #œ
B M7 F m7

& b b bw

© Javier Arau (ASCAP). For more about Augmented Scale Theory, visit www.JavierArau.com
3 Giant Steps Exercises 1 - E b Major - Javier Arau

Chorus 5: Mixing chord substitutions


B b7 E b M7
n˙ ˙ w
C m7 F7

bb # ˙ #˙ œ
‰ œ œ bœ œ nœ œ
B M7 D7 G M7 A m7 D7

& b

B b7 E b M7 G b7 B b7
˙
Upper

b ˙ b˙ w œ
&bb ˙ ‰ œ œ bœ œ nœ œ
G M7 B M7 Fragment: F m7

E b M7 D b m7 G b7
C m7 F7

b œ w #œ
&bb w ‰ œ œ bœ œ nœ œ ‰ nœ bœ œ bœ œ nœ
A m7 D7 G M7

B b7 E b M7 D b m7 G b7
Upper

b w ‰ œ œ bœ œ nœ œ œ w ‰ nœ bœ œ bœ œ nœ #œ
B M7 Fragment: F m7

b
& b

Chorus 6: Mixing chord substitutions


B b7
B b7 E b M7
bœ œ bœ œ nœ œ œ ˙ ˙
Upper

œ #œ nœ nœ #œ œ nœ
F m7

b #˙ #˙
B M7 D7 G M7 Fragment: A m7 D7

&bb ‰ ‰

B b7 E b M7 G b7 b
b˙ œ #œ nœ nœ #œ œ nœ b˙ b œ œ b œ Bœ 7n œ œ œ
E m7 A7

b #˙ ˙
G M7 B M7 F m7

&bb ‰ ‰

E b M7 D b m7 G b7
b ˙ œ #œ nœ nœ #œ œ nœ #˙ œ #œ nœ nœ #œ œ nœ
E m7 A7 E m7 A7
A m7 D7 G M7

b
& b ˙ ‰ n˙ ‰

B b7 E b M7 D b m7 G b7
bœ œ bœ œ nœ œ œ ˙ œ #œ nœ nœ #œ œ nœ
E m7 A7

b #˙
B M7 F m7

b
& b n˙ ‰ ˙ ‰

© Javier Arau (ASCAP). For more about Augmented Scale Theory, visit www.JavierArau.com
Giant Steps Exercises 1 - E b Major - Javier Arau 4
Chorus 7: Mixing chord substitutions
E b m7 A b7
B b7
n D˙ ˙b M7
˙ w
b #˙ bœ œ nœ bœ œ œ bœ
M7B 7 G M7 E A m7 D7

&bb ‰

Fragment: A b m7 D b7
Upper
B b7 E b M7 G b7 B b7
bb b n ˙ œ #œ nœ nœ #œ œ nœ ˙ bœ œ nœ bœ œ œ bœ
E m7 A7

˙ ˙
G M7 B M7 F m7

& ‰ ‰

E b m7 A b7
E b M7 D b m7 G b7
bœ œ nœ bœ œ œ bœ n˙ œ #œ nœ nœ #œ œ nœ
E m7 A7

b ˙ ˙
A m7 D7 G M7

&bb ˙ ‰ ‰

Fragment: A b m7 D b7
Upper
B b7 E b M7 D b m7 G b7
b˙ bœ œ nœ bœ œ œ bœ n˙ ˙
E m7 A7

bbb ˙
B M7 F m7

& ‰ ‰ œ #œ nœ nœ #œ œ nœ

Chorus 8: Mixing chord substitutions


B b7 E b M7
C m7 F7

b ˙ w ‰ œ œ bœ œ nœ œ œ
B M7 D7 G M7 A m7 D7

& b b #˙ n˙ ˙
Upper
B b7 E b M7 G b7 B b7
Fragment: E m7 A7 Upper

b ˙ œ
‰ œ #œ nœ nœ #œ œ nœ #˙ ‰ œ œ bœ œ nœ œ
G M7 B M7 Fragment: F m7

&bb ˙ #˙
Upper
E b M7 D b m7 G b7
Fragment: E m7
˙
C m7 F7 A7

b œ #˙
‰ œ œ bœ œ nœ œ ‰ œ #œ nœ nœ #œ œ nœ
A m7 D7 G M7

&bb ˙ n˙
Upper
B b7 E b M7 D b m7 G b7
n˙ ˙
Upper Fragment: E m7 A7

b #˙ ‰ œ œ bœ œ nœ œ œ ˙ ‰ œ #œ nœ nœ #œ œ nœ
B M7 Fragment: F m7

&bb

© Javier Arau (ASCAP). For more about Augmented Scale Theory, visit www.JavierArau.com