
Guitarists can learn a lot by dissecting the art of articulation.
Advanced
Advanced
• Develop a more fluid jazz time-feel by using hammer-ons and pull-offs.
• Create flowing, legato-based lines.
• Understand how to navigate tricky harmonic passages.
John Coltrane was a titan of jazz saxophone and an improvisor of unparalleled genius. Every jazz musician since has had to confront his instrumental prowess and musical legacy. In this lesson, we'll relate elements of his improvisational material to the guitar. His note choices are frequently addressed and much of his music is available in transcriptions, but authentic phrasing is not often attempted by guitarists. After all, jazz isn't just about what you say, it's how you say it.
Before we dig into the nuts and bolts of this lesson, let's listen to few essential Coltrane tracks to get our ears right. First, we have his classic tour-de-force, "Giant Steps." For decades this has been the pinnacle of how to play over fast-moving changes.
John Coltrane - Giant Steps (2020 Remaster) [Official Audio]
On the complete opposite side of the harmonic spectrum is "Impressions," which is a contrafact based on Miles Davis' "So What." Here's a live performance of the two-chord tune with his classic quartet.
John Coltrane Quartet - Impressions.
One of the most crucial aspects of Coltrane's articulation is the slurring of upbeat notes to downbeat notes. For guitarists, this means that we pick notes on the "ands" and hammer on, pull-off, or slide to notes on the downbeats. Pro: This gives the music an undeniable jazz feel and convincing phrasing. Con: Fingerings can be challenging and unorthodox.
Let's begin with Ex. 1, a I-VIm–IIm–V7 line in Bb, like we'd hear in "Rhythm" changes. This particular lick has typical bebop-type chromatic approach tones. As luck would have it, this lick fits well on the guitar, so it's a good introduction to Coltrane's articulation technique.
Coltrane for Guitar Ex. 1
Here's another line in Bb (Ex. 2), this one necessitates moving around the neck a bit more to make the articulations work. Again, we hear bebop language, but the superimposed Gb triad (Gb–Bb–Db) on top of the F7 chord is a Coltrane-esque development.
Coltrane for Guitar Ex. 2
Diminished licks are often discussed in Coltrane studies, so it's good to have a few patterns under your fingers. The obvious place to use such lines is over 13b9 chords. The fingering in Ex. 3 isn't the easiest way to play these notes, but it allows for the most authentic phrasing.
Coltrane for Guitar Ex. 3
You can't enter Coltrane's world without mastery of all sorts of chordal and scalar fundamentals. He practiced obsessively and had tremendous technique. Ex. 4 is in G minor takes a motive and moves it diatonically down the G Dorian mode (G–A–Bb–C–D–E–F). This implies the harmony of a series of diatonic chords. Try hybrid picking here. The fingering stays on the top three strings for a consistent approach and highlights that pattern-based thinking.
Coltrane for Guitar Ex. 4
One of Coltrane's notable developments was his harmonically adventurous series of substitutions that have become known as "Coltrane" changes. You hear this harmonic gauntlet on tunes such as "Countdown," "Giant Steps," and a few other standards that Coltrane would reharmonize. The tempos are fast, and the changes are relentless. Ex. 5 covers three somewhat distant key centers: B, Eb, and G in a matter of a few measures.
Coltrane used a combination of bebop language and purely diatonic patterns to navigate these progressions. We hear use of the infamous 1–2–3–5 patterns on many chords as well as simple triadic lines. This is the first example where it's impractical to adapt Coltrane's articulation to the guitar consistently.
Coltrane for Guitar Ex. 5
Ex. 6 is another lick you can use in a "Giant Steps" setting. Again, we do the best we can at capturing the Coltrane spirit without going totally crazy trying get every slur.
Coltrane for Guitar Ex. 6
Coltrane's modal playing is legendarily epic. He went on extended explorations the likes of which were never heard before in jazz or Western music. Ex. 7 has a Dorian flavor, but Coltrane is not one to be strictly limited to the mode, so notice the use of b7 and natural 7 (C and C#) in this lick.
Coltrane for Guitar Ex. 7
Ex. 8 is representative of Coltrane's development of gestural ideas—in this case a rising arpeggio-like idea that begins on an upbeat. Listen to his early '60s live work, where his solos could last ten minutes or more.
Coltrane for Guitar Ex. 8
Here's a particularly stretchy idea (Ex. 9), but if you keep your fretting-hand thumb low on the neck, it will allow your hand to "open-up" to the extended reach that's required. The ending is interesting because it has a hint of bebop approach tones in an otherwise modal setting.
Coltrane for Guitar Ex. 9
If you listen carefully to Coltrane's improvisations on a C minor blues, you'll hear that he doesn't treat the tonic chord modally, i.e., as a minor 7 chord—at least not exclusively. Instead, he thinks of it as a more tonal sound: Cm, Cm6, or Cm6/9. That accounts for his many melodic minor-based ideas in "Mr. P.C." for example. (As is typical in jazz, melodic minor is used in its ascending form, often called the "jazz minor.") To achieve a consistent articulation and match his phrasing, we can employ a rather guitaristic move down the neck here (Ex. 10).
Coltrane for Guitar Ex. 10
Sometimes Coltrane will use grand, sweeping gestures that are all legato (Ex. 11). On guitar, we do what we can—hammer-ons and three-note-per string ideas work well to emulate his licks, as in this excerpt from a C minor blues.
Coltrane for Guitar Ex. 11
Of course, this is hardly a complete overview of Coltrane's contributions to the language of jazz improvisation. Above all, deep listening is a required step in the process. Once you get the sound of Coltrane's articulations in your ear it will be much easier to get that sound out of your hands.
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The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).
PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
“The SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ‘50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594” scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout — two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the “hollow” sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.
40th Anniversary McCarty SC56 Limited Edition | Demo | PRS Guitars - YouTube
Belltone Guitars has partnered Brickhouse Toneworks to create a one-of-a-kind, truly noiseless Strat/Tele-tone pickup in a standard Filter’Tron size format: the Single-Bell pickup.
The Single-Bell by Brickhouse Toneworks delivers bonafide single-coil Strat and Tele tones with the power of a P-90 and no 60-cycle hum. Unlike typical stacked hum-cancelling designs, Brickhouse Toneworks uses a proprietary ‘sidewind’ approach that cancels the 60-cycle hum without sacrificing any of the dynamics or top-end sparkle of a Fender-style single coil.
Get the best of both worlds with clear bell-like tones on the neck pickup, signature quack when combining the neck and bridge pickups, and pristine twang in the bridge position backed with the fullness and power of a P-90. Push these into overdrive and experience the hallmark blues tone with plenty of grit and harmonic sustain — all with completely noiseless performance.
Key Features of the Single-Bell:
- Cast Alnico 5 Magnet, designed to be used with 500k pots
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The retail price for a Bridge and Neck matching set is $340.00 and they’re available directly and exclusively through Belltone® Guitars / Brickhouse Toneworks at belltoneguitars.com.
Designed for players who demand flexibility without sacrificing tone, the Aquanaut fuses the rich warmth of classic analog delay with the extended range and clarity of modern digital designs. Featuring up to 600 milliseconds of delay time, the Aquanaut easily covers everything from tight slapback echoes to lush, ambient textures and rhythmic soundscapes – all with a simple, intuitive control layout.
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Berserker Electronics Aquanaut Delay/Echo
Key features include:
- Up to 600ms of delay time for expanded creative possibilities
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The Aquanaut is available direct at www.berserkerpedals.com and Reverb at a $149 street price.