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{{Short description|Harmonic progression}}
'''Coltrane changes''' ('''Coltrane Matrix or cycle''', also known as '''chromatic third relations''' and '''multi-tonic changes''') are a [[chord progression|harmonic progression]] variation using substitute chords over common jazz chord progressions. These substitution patterns were first demonstrated by jazz musician [[John Coltrane]] on the albums ''[[Bags & Trane]]'' (on the track "Three Little Words") and ''[[Cannonball Adderley Quintet in Chicago]]'' (on "Limehouse Blues").<ref name="Porter151">{{cite book |last=Porter |first=Lewis |title=John Coltrane: His Life and Music |publisher=University of Michigan Press |date=January 28, 2000 |location=Ann Arbor, Michigan |page=151 |isbn=978-0-472-08643-6 }}</ref> Coltrane continued his explorations on the 1960 album ''[[Giant Steps]]'' and expanded on the substitution cycle in his compositions "[[Giant Steps (composition)|Giant Steps]]" and "[[Countdown (Coltrane song)|Countdown]]", the latter of which is a reharmonized version of [[Eddie Vinson]]'s "[[Tune Up (composition)|Tune Up]]". The Coltrane changes are a standard advanced harmonic substitution used in jazz improvisation.

==Function==
The changes serve as a pattern of [[chord substitution]]s for the [[II-V-I|ii–V–I progression]] ([[supertonic]]–[[Dominant (music)|dominant]]–[[Tonic (music)|tonic]]) {{audio|Ii-V-I without subV.ogg|Play}} and are noted for the [[tonality|tonally]] unusual [[root (chord)|root]] movement by [[major third]]s (either up or down by a major third interval), creating an [[augmented triad]]. Root movement by thirds is unusual in jazz, as the norm is [[circle of fifths]] root movement, such as ii-V-I.{{Citation needed|date=May 2022}}

==Influences==

David Demsey, saxophonist and coordinator of jazz studies at [[William Paterson University]], cites a number of influences leading to Coltrane's development of these changes. After Coltrane's death it was proposed that his "preoccupation with...chromatic third-relations" was inspired by religion or [[John Coltrane#Personal life and religious beliefs|spirituality]], with three equal key areas having [[numerology|numerological]] significance representing a "magic [[Trimurti|triangle]]", or, "the [[trinity]], God, or unity."<ref name="Demsey">{{cite book |last1=Demsey |first1=David |title=John Coltrane plays Giant steps |date=1996 |publisher=Hal Leonard |location=Milwaukee, Wisconsin |isbn=0-7935-6345-3|page=145}}</ref> Demsey shows that though this meaning was of some importance, third relationships were much more "earthly", or rather historical, in origin. Mention should be made of his interests in Indian ragas during the early 1960s, the Trimurti of Vishnu, Brahma and Shiva may well have been an inherent reference in his chromatic third relations, tritone substitutes, and so on.<ref name="Demsey" /> In playing that style, Coltrane found it "easy to apply the harmonic ideas I had.... I started experimenting because I was striving for more individual development."<ref name="Chromatic Thirdsd">{{cite journal |last1=Demsey |first1=David |title=Chromatic Third Relations in the Music of John Coltrane |journal=Annual Review of Jazz Studies |date=1991 |volume=5 |page=158 |ISBN=0-8108-2478-7}}</ref> He developed his [[sheets of sound]] style while playing with [[Miles Davis]] and with pianist [[Thelonious Monk]] during this period.<ref name="Ruhlmann">{{cite web |last1=Ruhlmann |first1=William |title=John Coltrane |url=https://www.allmusic.com/artist/john-coltrane-mn0000175553/biography |website=AllMusic |access-date=21 December 2018}}</ref> In terms of the origin of this “sheets of sound” technique, saxophonist [[Odean Pope]] considers pianist [[Hasaan Ibn Ali]] a major influence on Coltrane and his development of this signature style.<ref name="Colref">{{cite book |last1=Porter |first1=Lewis |last2=DeVito |first2=Chris |last3=Wild |first3=David |title=The John Coltrane Reference |url=https://books.google.com/books?id=mjXN4UHgU1IC&pg=PP103 |date=26 April 2013 |publisher=Routledge |isbn=978-1-135-09794-3 |pages=103– }}</ref>

Coltrane studied [[harmony]] with [[Dennis Sandole]] and at the [[Granoff School of Music]] in Philadelphia. He explored contemporary techniques and theory. He also studied the ''Thesaurus of Scales and Melodic Patterns'' by [[Nicolas Slonimsky]] (1947).<ref name="Porter149">{{cite book |last1=Porter |first1=Lewis |title=John Coltrane: His Life and Music |date=2000 |publisher=University of Michigan Press |location=Ann Arbor, Michigan |isbn=978-0-472-08643-6 |page=149}}</ref>

A series of similar-sounding chord changes occurs in "Ondine", the first movement of [[Maurice Ravel]]'s 1908 piano suite ''[[Gaspard de la nuit]]''. [[File:Ravel, Ondine from 'Gaspard de la Nuit', bar 67.wav|thumb|Ravel, Ondine from 'Gaspard de la Nuit', bar 67]] [[File:Ravel, Ondine from 'Gaspard de la Nuit', bar 67.png|thumb|center|600px|Ravel, Ondine from 'Gaspard de la Nuit', bar 67]]Other early appearances include the verse to the standard "[[Till the Clouds Roll By]]" (1917) by [[Jerome Kern]].<ref>{{Cite AV media notes |title=Till the Clouds Roll By |year=1967 |first=Jerome |last=Kern |author-link=Jerome Kern |page=3 |type=sheet music |publisher=[[T. B. Harms]] |url=http://web.ocpl.org/sheetmusic/viewfile.php?id=Till_the_clouds_roll_by(1).pdf  |location=New York City}}

</ref> The bridge of the [[Richard Rodgers]] song and [[jazz standard]] "[[Have You Met Miss Jones?]]" (1937) predated [[Tadd Dameron]]'s "[[Lady Bird (song)|Lady Bird]]", after which Coltrane named his "[[Lazy Bird]]", by incorporating modulation by [[major third]](s).<ref>Lyon, Jason (2007). [http://www.opus28.co.uk/tranesubtunes.pdf "Coltrane's Substitution Tunes"], in [http://www.opus28.co.uk/jazzarticles.html www.opus28.co.uk/jazzarticles.html].</ref> (highlighted yellow below) "Giant Steps" and "Countdown" may both have taken the inspiration for their augmented tonal cycles from "Have You Met Miss Jones?".<ref>Christiansen, Corey (2007). "Coltrane-Style II–V–Is", ''Guitar Player'' Jun; 41, 6.</ref>
:{|style="text-align:center"
|+"Have You Met Miss Jones?" B section chord progression (bridge):
| | {{color|gray|│}} || style="background:#ff9;"| B{{music|b}}<sup>Maj7</sup> || | {{pad|1em}} || | {{color|gray|│}} || | A{{music|b}}m<sup>7</sup> || | D{{music|b}}<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| G{{music|b}}<sup>Maj7</sup> || | {{pad|1em}} || | {{color|gray|│}} || | Em<sup>7</sup> || | A<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| D<sup>Maj7</sup> || | {{pad|1em}} || | {{color|gray|│}} || | A{{music|b}}m<sup>7</sup> || | D{{music|b}}<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| G{{music|b}}<sup>Maj7</sup> || | {{pad|1em}} || | {{color|gray|│}} || | Gm<sup>7</sup> || | C<sup>7</sup> || | {{color|gray|│}}{{Listen|filename=HaveYouMetMissJones(bridge).ogg|title=Play the chord progression for the "Have You Met Miss Jones?" bridge section|description=|format=[[Ogg]]}}

|}
{{clear}}

==Coltrane substitution==
[[Image:Ii-V-I turnaround in C.png|thumb|225px|ii–V<sup>7</sup>–I progression in C lasting only two measures {{audio|Ii-V-I turnaround in C.mid|Play}}.]]

The Coltrane substitution, Coltrane changes, or Countdown formula, is as follows. Start with a [[ii–V–I turnaround]] lasting four measures:
:{|style="text-align:center"
| | || | ii<sup>7</sup> || | || | V<sup>7</sup> || | || | I || | || | I || | 
|-
| | {{color|gray|│}} || | Dm<sup>7</sup> || | {{color|gray|│}} || | G<sup>7</sup> || | {{color|gray|│}} || | C || | {{color|gray|│}} || | C || | {{color|gray|│}}
|}
with the dominant chord (V<sub>7</sub>) preceding the tonic (I).

One substitutes two chords for each of the first three:<ref name="Baker">{{cite book |last1=Baker |first1=David |title=David Baker's Modern Concepts in Jazz Improvisation: A Comprehensive Method for All Musicians |date=1990 |publisher=Alfred Publishing |isbn=0-7390-2907-X |pages=92–93}}</ref>
:{|style="text-align:center"
| | || | ii<sup>7</sup> || | || | || | || | || | || | || | || | || | || | V<sup>7</sup> || | || | I
|-
| | {{color|gray|│}} || | Dm<sup>7</sup> || | || | E{{music|b}}7 || | {{color|gray|│}} || | A{{music|b}} || | || | B<sup>7</sup> || | {{color|gray|│}} || | E || | || | G<sup>7</sup> || | {{color|gray|│}} || | C || | || | {{color|gray|│}}
|-
| | || | || | ╲╱<br />[[minor second|m2]] || | || | ╲╱<br />[[perfect fourth|P4]] || | || | ╲╱<br />[[minor third|m3]] || | || | ╲╱<br />P4 || | || | ╲╱<br />m3 || | || | ╲╱<br />P4
|}

Notice a [[dominant seventh chord]] preceding and thus [[tonicization|tonicizing]] a major chord on C and also E and A{{music|b}}, both a major third from C.
:{|style="text-align:center"
| style="background:#f99;"| V<sup>7</sup> || | || style="background:#f99;"| I || style="background:#9f9;"| V<sup>7</sup> || | || style="background:#9f9;"| I || style="background:#f9f;"| V<sup>7</sup> || | || style="background:#f9f;"| I
|-
| | E{{music|b}}<sup>7</sup> || | {{color|gray|│}} || | A{{music|b}} || | B<sup>7</sup> || | {{color|gray|│}} || | E || | G<sup>7</sup> || | {{color|gray|│}} || | C
|}
[[Image:Coltrane changes.png|thumb|350px|Four-measure ii–V–I progression in C with Coltrane substitution {{audio|Coltrane changes.mid|Play}}.]]
This also may begin on C, as on "[[Giant Steps (composition)|Giant Steps]]", giving:
:{|style="text-align:center"
| | {{color|gray|│}} || | C || | || | E{{music|b}}7 || | {{color|gray|│}} || | A{{music|b}} || | || | B<sup>7</sup> || | {{color|gray|│}} || | E || | || | G<sup>7</sup> || | {{color|gray|│}} || | C || | || | {{color|gray|│}}
|-
| | || | || | ╲╱<br />m3 || | || | ╲╱<br />P4 || | || | ╲╱<br />m3 || | || | ╲╱<br />P4 || | || | ╲╱<br />m3 || | || | ╲╱<br />P4
|}
{{clear}}

==Major thirds cycle==
The harmonic use of the chromatic third relation originated in the [[Romantic era]] and may occur on any structural level, for example in [[chord progression]]s or through [[Modulation (music)|key changes]].<ref name="Demsey 146">Demsey (1991), p.146-147.</ref> The standard Western [[chromatic scale]] has [[12-TET|twelve equidistant semitones]].<ref name="Proctor">Proctor, Gregory (1978). ''Nineteenth-Century Chromatic Tonality: A Study in Chromaticism'', p.150. Ph.D., Diss., Princeton. Cited in Demsey (1991), p.148.</ref> When arranged according to the [[circle of fifths]], it looks like this:

::[[Image:Fifths.png]]

{{blockquote|Precisely because of this equidistancy, the roots of these three chords can produce a destabilizing effect; if C, A{{music|flat}} and E appear as the tonic pitches of three key areas on a larger level, the identity of the composition's tonal center can only be determined by the closure of the composition.|Demsey (1991)<ref name="Demsey 146"/>}}

Looking above at the marked chords from "Have You Met Miss Jones?", B{{music|flat}}, G{{music|flat}} and D are spaced a major third apart. On the circle of fifths it appears as an equilateral triangle:

::[[Image:Thirds cycle.png]]

By rotating the triangle, all of the thirds cycles can be shown. Note that there are only ''four'' unique thirds cycles. This approach can be generalized; different [[interval cycle]]s will appear as different polygons on the diagram.
{{clear}}

==Musical examples==

===Tune Up===
These are the first eight bars of the [[Miles Davis]] composition "Tune Up".{{citation needed|date=November 2012}} The chord changes are relatively simple, a straightforward application of the [[II-V-I|ii–V–I progression]], which is extremely common in jazz.
:{|style="text-align:center"
| | || style="background:#9f9;"| ii || | || style="background:#9f9;"| V || | || style="background:#9f9;"| I || | || | || | || style="background:#f9f;"| ii || | || style="background:#f9f;"| V || | || style="background:#f9f;"| I || | || |
|-
| | {{color|gray|│}} || | Em<sup>7</sup> || | {{color|gray|│}} || | A<sup>7</sup> || | {{color|gray|│}} || | D<sup>Maj7</sup> || | {{color|gray|│}} || | D<sup>Maj7</sup> || | {{color|gray|│}} || | Dm<sup>7</sup> || | {{color|gray|│}} || | G<sup>7</sup> || | {{color|gray|│}} || | C<sup>Maj7</sup> || | {{color|gray|│}} || | C<sup>Maj7</sup> || | {{color|gray|│}}
|}
{{Listen|filename=TuneUp(example).ogg
|title=Play this "Tune Up" excerpt chord progression|description=|format=[[Ogg]]}}
The chord progression is a standard ii<sup>7</sup>–V<sup>7</sup>–I progression in [[D major]] and then in [[C major]]. Assume that the [[time signature]] is {{music|time|4|4}} and that each ii and V chord gets four beats and the I chord gets eight beats.
{{clear}}

===Countdown===
{{Main articles|Countdown (John Coltrane song)}}
The changes below show Coltrane's substitution of chord changes over "Tune Up". The ii–V–I progression from "Tune Up" still appears but is enhanced with several transition chords that lead to a more complex harmonic progression.
:{|style="text-align:center"
| | || style="background:#9f9;"| ii || | || | || | || |  || | || | || style="background:#9f9;"| V || | || style="background:#9f9;"| I || | || | || style="background:#f9f;"| ii || | || | || |  || | || | || | || style="background:#f9f;"| V || | || style="background:#f9f;"| I || | || |
|-
| | {{color|gray|│}} || | Em<sup>7</sup> || | F<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| B{{music|b}}<sup>Maj7</sup> || | D{{music|b}}<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| G{{music|b}}<sup>Maj7</sup> || | A<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| D<sup>Maj7</sup> || | {{pad|1em}} || | {{color|gray|│}} || | Dm<sup>7</sup> || | E{{music|b}}<sup>7</sup> || | {{color|gray|│}} || style="background:#9ff;"| A{{music|b}}<sup>Maj7</sup> || | B<sup>7</sup> || | {{color|gray|│}} || style="background:#9ff;"| E<sup>Maj7</sup> || | G<sup>7</sup> || | {{color|gray|│}} || style="background:#9ff;"| C<sup>Maj7</sup> || | {{pad|1em}} || | {{color|gray|│}}{{citation needed|date=November 2012}}
|}
{{Listen|filename=Countdown(example).ogg
|title=Play this "Countdown" excerpt chord progression|description=|format=[[Ogg]]}}

In the standard Coltrane change cycle the ii–V–I is substituted with a progression of chords that cycle back to the V–I at the end. In a {{music|time|4|4}} piece, each chord gets two beats per change.

Coltrane developed this modified chord progression for "Countdown", which is much more complex. At its core, "Countdown" is a variation of "Tune Up",<ref>{{cite book |last=Porter |first=Lewis |title=John Coltrane: His Life and Music |publisher=The University of Michigan Press |year=1999 |pages=147 }}</ref> but the harmonic substitutions occur rapidly and trick the listener into thinking that they are listening to a completely unrelated tune.  The ii, V and I remain, but in between are other chords (highlighted in yellow and blue) from the major thirds cycle centered around each I. Preceding the first chord of each major thirds cycle is its V chord.

An earlier Coltrane piece, "[[Lazy Bird]]", also features two tonal centers a major third apart in its A section.
{{clear}}

=== Giant Steps ===
{{Main articles|Giant Steps (composition)}}
The "Giant Steps" cycle is the culmination of Coltrane's theories applied to a completely new chord progression. Coltrane uses the cycle in descending major third tonal transpositions in the opening bars and then ascending ii–V–I progressions separated by a major third in the second section of "Giant Steps". The second section is basically the inverse of the bridge section described in "Have You Met Miss Jones" above.
:{|style="text-align:center"
| | || | I || colspan="6" style="background:#ddddd;"| Coltrane substitution cycle || | || | || | ii || | V || I | || | I || colspan="6" style="background:#ddddd;"| Coltrane substitution cycle || |
|-
| | {{color|gray|│}} || style="background:#ff9;"| B<sup>Maj7</sup> || | D<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| G<sup>Maj7</sup> || | B{{music|b}}<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| E{{music|b}}<sup>Maj7</sup> || | {{pad|1em}} || | {{color|gray|│}} || | Am<sup>7</sup> || | D<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| G<sup>Maj7</sup> || | B{{music|b}}<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| E{{music|b}}<sup>Maj7</sup> || | F{{music|#}}<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| B<sup>Maj7</sup> || | {{pad|1em}} || | {{color|gray|│}}{{citation needed|date=November 2012}}
|}
[[File:Giant Steps Visualized on the Circle of Fifths.svg|thumb|The structure of "Giant Steps" as shown on the [[circle of fifths]].]]

Ascending/descending ii–V–I progression separated by a major third (tonal centers E{{music|flat}}, G, B, E{{music|flat}}, B)
:{|style="text-align:center"
| | || | ii || | V || | || | I || | || | || | ii || | V || | || | I || | || | || | ii || | V || | || | I || | || | || | ii || | V || | || | I || | || | || | ii || | V || |
|-
| | {{color|gray|│}} || | Fm<sup>7</sup> || | B{{music|b}}<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| E{{music|b}}<sup>Maj7</sup> || | {{pad|1em}} || | {{color|gray|│}} || | Am<sup>7</sup> || | D<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| G<sup>Maj7</sup> || | {{pad|1em}} || | {{color|gray|│}} || | C{{music|#}}m<sup>7</sup> || | F{{music|#}}<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| B<sup>Maj7</sup> || | {{pad|1em}} || | {{color|gray|│}} || | Fm<sup>7</sup> || | B{{music|b}}<sup>7</sup> || | {{color|gray|│}} || style="background:#ff9;"| E{{music|b}}<sup>Maj7</sup> || | {{pad|1em}} || | {{color|gray|│}} || | C{{music|#}}m<sup>7</sup> || | F{{music|#}}<sup>7</sup> || | {{color|gray|│}}{{citation needed|date=November 2012}}
|}
This table shows which scales are used for the different chords:
:{|class="wikitable"
!Chords!!Scale!!Change in scale
|-
|B<sup>Maj7</sup>||B major||I
|-
|D<sup>7</sup> → G<sup>Maj7</sup>||G major||V-I
|-
|B{{music|flat}}<sup>7</sup> → E{{music|flat}}<sup>Maj7</sup>||E{{music|flat}} major||V-I
|-
|Am<sup>7</sup> → D<sup>7</sup> → G<sup>Maj7</sup>||G major||ii-V-I
|-
|B{{music|flat}}<sup>7</sup> → E{{music|flat}}<sup>Maj7</sup>||E{{music|flat}} major||V-I
|-
|F{{music|sharp}}<sup>7</sup> → B<sup>Maj7</sup>||B major||V-I
|-
|Fm<sup>7</sup> → B{{music|flat}}<sup>7</sup> → E{{music|flat}}<sup>Maj7</sup>||E{{music|flat}} major||ii-V-I
|-
|Am<sup>7</sup> → D<sup>7</sup> → G<sup>Maj7</sup>||G major||ii-V-I
|-
|C{{music|sharp}}m<sup>7</sup> → F{{music|sharp}}<sup>7</sup> → B<sup>Maj7</sup>||B major||ii-V-I
|-
|Fm<sup>7</sup> → B{{music|flat}}<sup>7</sup> → E{{music|flat}}<sup>Maj7</sup>||E{{music|flat}} major||ii-V-I
|-
|C{{music|sharp}}m<sup>7</sup> → F{{music|sharp}}<sup>7</sup>||B major||ii-V
|}

==Standard substitution==
Although "Giant Steps" and "Countdown" are perhaps the most famous examples, both use slight variants of the standard ''Coltrane changes'' (the first eight bars of "Giant Steps" use a shortened version that does not return to I, and in "Countdown" the progression begins on ii<sup>7</sup> each time). The standard substitution can be found in several Coltrane compositions and arrangements recorded around this time, including "[[26-2]]" (a reharmonization of Charlie Parker's "[[Confirmation (composition)|Confirmation]]"), "Satellite" (based on the standard "[[How High the Moon]]"), "Exotica" (loosely based on the harmonic form of "[[I Can't Get Started]]"), Coltrane's arrangement of "[[But Not for Me (song)|But Not for Me]]", and the bridge of his arrangement of "[[Body and Soul (1930 song)|Body and Soul]]".{{citation needed|date=September 2012}}

In "Fifth House" (based on "[[Hot House (composition)|Hot House]]", i.e. "[[What Is This Thing Called Love?]]") the standard substitution is implied over an [[ostinato]] bass pattern with no chordal instrument instructed to play the chord changes. When Coltrane's improvisation superimposes this progression over the ostinato bass, it is easy to hear how he used this concept for his freer playing in later years.

==See also==
*[[Tritone substitution]]
*[[Circle of thirds]]

==References==
{{Reflist}}

==Further reading==
* {{Cite book|last=Baker|first=David N.|title=The Jazz Style of John Coltrane|publisher=Alfred Publishing|year=1990|isbn=0-7692-3326-0}}
* Nettles, Barrie & Graf, Richard (1997). ''The Chord Scale Theory and Jazz Harmony''. Advance Music, {{ISBN|3-89221-056-X}}
* {{Cite book|last=Weiskopf|first=Walt|author2=Ray Ricker|author2-link=Ray Ricker|title=Coltrane - A Player's Guide to His Harmony|publisher=Jamey Aebersold|year=1991|location=New Albany, Indiana}}
* {{Cite book|last=Yamaguchi|first=Masaya|year=2003|title=John Coltrane Plays Coltrane Changes|location=Milwaukee|publisher=Hal Leonard Corp|isbn=0-634-03864-8}}
* Yamaguchi, Masaya (2002). "A Creative Approach to Multi-Tonic Changes: Beyond Coltrane's Harmonic Formula", ''Annual Review of Jazz Studies'' 12. {{ISBN|0-8108-5005-2}}

==External links==
* [http://www.danadler.com/misc/Cycles.pdf "The Giant Steps Progression and Cycle Diagrams"], (155 KB [[Portable Document Format|PDF]]), Dan Adler, DanAdler.com 
* [http://www.javierarau.com/books-augmented.php "Augmented Scale Theory"], Javier Arau
* [http://www.lucaspickford.com/transsubs.htm "John Coltrane - Harmonic Substitutions"], "Extending the Coltrane Changes" by [[David Baker (composer)|David Baker]], LucasPickford.com
* [http://www.songtrellis.com/GiantStepsInDetail "Giant Steps (in minute detail)"], SongTrellis
* [http://www.thinkingmusic.ca/analyses/coltrane/ "Giant Steps, Central Park West and Modulatory Cycles"],  Michael Leibson, ThinkingMusic.ca.

{{Chord progressions|state=expanded}}
{{Jazz theory}}
{{John Coltrane}}

{{DEFAULTSORT:Coltrane Changes}}
[[Category:Chord progressions]]
[[Category:Chord substitution]]
[[Category:Jazz techniques]]
[[Category:John Coltrane]]
[[Category:Jazz terminology]]