There are so many harmonic, rhythmic and melodic possibilities to be found by exploring the iconic jazz harmonic progression commonly known as the “Coltrane Matrix”. In this particular etude, I aim for a rather angular sounding line by using the shapes of suspended chords (“Sus” chords) that fit readily within the diatonic harmony of the matrix.
If you look at the first four notes in the example above, you’ll recognize an A7 Sus chord (A, D, E, G) in retroversion (G, E, D, A, in the example). These notes fit well over the CMaj7 chord, then connect, via half-step movement to the next shape, which is an inverted F7 Sus chord (which would be F, Bb, C, Eb in root position). You might note here that there are no tensions in this shape over the Eb7 chord that are “leaning” for resolution to the AbMaj7 chord. Instead, the energy of the movement comes from the tonal contrasts between the two shapes over these two chords.
The second measure begins with an inverted Bb7 Sus chord (over the AbMaj7) that moves to an F# Sus2 chord (F#, G#, B, C# in root position) over the B7 chord. (Again, no strong harmonic tensions over the dominant chord here.)
There is a considerable leap (a minor 7th) between the last note of the second measure and the first note of the third measure, which adds to the angularity of the line. I use an inverted G#7 Sus chord over the Emaj7, which is close to the color and shape of the F#Sus2 chord over the B7. (I did this to add rhythmic interest/tension into the line.) Over the G7 chord I use an inverted version of the same chord the line starts with (A7 Sus).
This continues into the last measure over the CMaj7, where the first four notes is identical to the first four notes at the beginning of the line (the A7Sus). By moving up to the B natural to end the melody (in contrast to moving to the Bb, as in the first measure), the line ends with a sort of “open-ended question” quality to its sound (not quite “resolving”, in a certain sense).
This is most definitely a “modern” sounding concept here. It’s less concerned with voice leading in resolution (which might be more common to the bebop language) than it is with expressing the energetic quality of these shapes. If you play this over a backing track, you’ll notice that there are no strong dissonances, that if “fits” well over the changes. Yet it has a highly unusual, almost “outside” quality to it. A bit of a paradox. In essence, it is replacing the natural angularity of the harmonic movement with the angularity of suspended shapes.
If you’d like to explore some of the possibilities of this important harmonic progression (The Coltrane Matrix) in greater detail, please consider my e-book, The Coltrane Matrix: 40 Unique Melodic Ideas in All 12 Keys. Click the link below to download a free pdf copy of this etude.