Blue Train

Summary

Overview of Blue Train’s Structure and Articulation

The Blues Foundation

“Blue Train” is structured as a classic blues in F, but with distinct compositional and melodic nuances. The melody starts is based on the 5, b7 and 9 of the chords, creating a minor triad embedding a fundamental blues feeling.

Importance of Articulation and Dynamics

A common pitfall in playing “Blue Train” is treating the melody too plainly. Critical to the piece’s character is the accentuation on specific notes, especially the third eighth note in pivotal measures, combined with crescendos that breathe vibrancy into the lines. These nuances transform a simple motive into a dynamic musical statement, adding depth to performance.

The Head’s Harmony and Piano Voicings

The harmonic underpinning remains mainly on the I chord with an F7 sharp nine voicing — a crucial sound palette in the tune. Additional voicings like B♭7 with 13 and sharp 11, and C7 sharp nine, are crucial for melodic instruments to reference, whether for soloing or background comping. Practicing melodic lines derived from these voicings is highly recommended to develop a blues-inflected vocabulary.

Deep Dive into Coltrane’s Solo Concepts

Targeting Core Tones: The Note “G” as a Centerpiece

Throughout the first chorus of the solo, Coltrane emphasizes the note G, frequently prolonging it to establish tonal focus. This target note anchoring is a great practice tool for soloists aiming to create coherence in their improvisations.

Using Minor Triads and the Added 11th

Coltrane often frames his lines around minor triads, particularly C minor and F minor triads, adding the 11th (the fourth) to enrich the harmony without losing the bluesy tension. Practicing these triads over corresponding chords in the blues progression creates a solid improvisational toolkit.

Harmonic Function: Tonic, Subdominant, and Dominant Clarified

Understanding the function of chords within the blues progression is essential. In “Blue Train,” F7 serves as tonic despite being a dominant-style chord; B♭7 functions as subdominant, not dominant; and traditional 2-5-1 (G-7 – C7 – F7) progressions appear with clear dominant function. This subtle differentiation influences improvisational choices and phrase targeting.

Advanced Techniques: Tritone Substitution and Pentatonics

Tritone Substitution Explained

Coltrane employs tritone substitutions to add harmonic spice, replacing dominant chords with chords a tritone away (e.g., substituting B7 for F7). This yields minor triads rooted a half step above the dominant chord’s root (e.g., F# minor triad over F7), producing a chromatic tension that energizes solos.

Pentatonic Scales with a Twist: Minor 6 Pentatonic

Beyond the regular minor pentatonic, Coltrane favors the minor 6 pentatonic scale. This subtle variation offers smoother voice leading and more nuanced melodic options, especially over subdominant chords.

The Backdoor Dominant: A Signature Coltrane Hue

What Is the Backdoor Dominant?

The backdoor dominant chord (e.g., E♭7 resolving to F7) is an approach to the tonic used extensively by Coltrane. It’s a dominant chord a whole step below the target root, creating a fresh tension-release effect.

Practical Application and Practice Tips

In solos, Coltrane frequently approaches chords through their backdoor dominants to add sophistication. Practicing the mixolydian mode a whole step below the tonic chord’s root allows improvisers to internalize this color and deploy it creatively.

Integrating 2-5 Progressions with Backdoor Dominants

Combining backdoor dominants with typical 2-5-1 progressions multiplies harmonic interest. For example, approaching a B♭7 chord with an A♭7 backdoor dominant  creates compelling voice-leading possibilities, which Coltrane exploits masterfully.

Rhythmic Aspects: 16th Note Lines and Articulation

Importance of Debut Precision in Fast Tempos

Coltrane’s signature fast 16th-note lines require exact articulation and finger technique, with minimal tonguing, emphasizing smooth, even note transitions. This uniformity in velocity creates the driving sound characteristic of “Blue Train.”

Playing 16th Notes at Different Tempos

While 16th notes dominate fast sections, slower blues or medium tempos can accommodate eighth-note phrasing with similar thematic material. The key takeaway is rhythmic clarity combined with melodic sophistication.

Modal and Scale Choices in Soloing

Using Major 7 Bar Scales on Dominant Chords

Unique to Coltrane’s approach is his occasional use of a major 7 scale (e.g., F major 7 scale) over dominant chords. This contrasts with the more common dominant bebop scale and adds a fresh tonal palette to improvisation.

Chromatic Passing Tones and Approach Notes

Coltrane frequently employs chromaticism—passing tones between chord tones—adding tension and release dynamics in solo lines. Learning characteristic groups of approach notes enhances the player’s ability to execute this technique fluently.

Incorporating Voice Leading and Reharmonization Concepts

Voice Leading Tendencies

Understanding voice leading tendencies helps jazz musicians create melodic lines that feel natural and connected to the harmony.

Use of Contiguous 2-5 Progressions

Taking cues from compositions like “Moment’s Notice,” Coltrane uses consecutive 2-5 progressions (contiguous 2-5s) to target chords chromatically and step through key centers. This approach encourages improvisers to think beyond static harmony towards continuous motion.

Practical Practice Routine Recommendations

Four Levels of Improvisation

• Triads: Start with simple triads on chord tones to internalize harmony.
• Tetrads: Add 7ths and extensions to deepen the harmonic vocabulary.
• Chord Scales: Combine scales with chords for melodic flow.
• Bebop Vocabulary: Incorporate bebop articulations and rhythmic phrasing.

Embracing the Material Gradually

It’s important to selectively incorporate the concepts—from articulation and motifs to backdoor dominants and advanced pentatonics—into your routine. Master the basics before layering complexity.

Transposing and Practicing in All Keys

Executing these ideas in all 12 keys, including practice of tritone substitutions and minor 6 pentatonics, ensures a solid and flexible command over the material.

Frequently Asked Questions

Can the Backdoor Dominant Be Used on Any Chord?

Yes, the backdoor dominant can approach virtually any chord, though it fits best in dominant-function contexts and requires fast tempos for a natural feel.

How Do I Avoid Overcomplicating the Blues?

Focus first on the core articulation and motif. Then gradually introduce reharmonization and chromaticism to add interest without losing the blues essence.

Are These Techniques Only for Saxophonists?

No, while Coltrane is a saxophone legend, these harmonic and melodic ideas apply to all melodic instruments, including trumpet, guitar, and piano.

Conclusion

Mastering John Coltrane’s “Blue Train” techniques requires attention to detail: articulation, harmonic function, creative reharmonization, and rhythmic precision. By embracing minor triads, tritone substitution, backdoor dominants, and scale innovations, soloists can unlock new dimensions in jazz improvisation. Practice these ideas step-by-step, and watch as your blues and bebop playing become more sophisticated, expressive, and true to the spirit of Coltrane’s legacy.

Embrace the journey of discovery with “Blue Train,” and let Coltrane’s soulful innovations inspire your next solo adventure.

Keep swinging!