Aural archetypes and cyclic perspectives in the work of John Coltrane and ancient Chinese music theory.HAFEZ MODIRZADEH The shaman is, then, a cosmically instructed man. His initiation is appropriate to the outer forms of his existence, yet bears an archetypal stamp. !!Stephen Larsen "1988, 81# The following work, by relating musical constructs with cross!cultural concepts, proposes essential parallels between John Coltrane$s enigmatic diagram of 1960 "see Lateef 1981, inside cover; Schott 2000, 355!356# and several ancient cyclic music theories of China. Consequently, with a reconsideration of commonly accepted analytical approaches to Coltrane$s later musical periods, a new perspective o%ers a more artistically relevant view toward his developing musical conceptions of the 1960s as well as a more integrated understanding of modal practices in general. Historically, the inclusivity of jazz tradition has inspired many musicians to introduce a variety of world in&uences into a predominantly African!American musical heritage. Beyond general concepts of pentatonicism, though, speci'c Chinese references to historical jazz practices have thus far remained untapped. Scholarly signi'cance in this area must move both analytical and performance worlds forward, primarily because of the manifold potential in applying ancient Chinese(theories toward the analysis of a twentieth!century musical culture like jazz. Indeed, from two seemingly far!removed worlds, tangible new relationships are generated for Chinese traditional and American jazz music scholars alike in ways such as the following. * Ancient esoteric Chinese concepts applied practically by the jazz performer will a%ect cognitive interaction both socially with the listener and personally with the historical tradition at hand. * Theoretical insights, when compatible between two or more removed cultural! historical contexts, raise important potential for creating larger, more unifying musical theories!!not necessarily of any particular practice in itself but rather for more cultural practices in general!!in all, furthering our understanding of human commonalities through music. * Considering the possibility that similar resources could give rise to the conception of similar approaches between modulatory traditions, then from and beyond the singular jazz model presented here, speculation could be returned toward how ancient Chinese and other musical practices may relate to the surviving theoretical documents of their time. This comparative work hones theoretical aligning of those tonal processes that together reveal more than common pentatonic perceptions have thus far allowed. For example, in regard to a recently discovered Chinese bell!set from the 'fth century B.C., Liang "1985, 74!75# points out that: )The evidence for a modulation practice is especially compelling when one considers, for example, the purpose of having almost identical tuning modes, pitch names and registers in sub!sets G.5 and G.6, but with di%erent temperaments.... Regrettably, the ancient tonal and modulation practice has long been a lost art ever since the end of the Zhou period "1075!256 B.C.#.... *I+nstrumental artifacts suggest that the theoretical formula and recorded theoretical systems manifest a belated doctrine, whereas the actual music practices of the Zhou period may have been much more advanced than what was theoretically documented., And once again. traditions.By realigning our jazz perception of John Coltrane$s modal periods of the 1960s with ancient Chinese musical theoretical constructs. thus inviting the potential of transcultural considerations to emerge from the models discussed. . "which in itself seems a redundant phrase. then that was the essence of his search. to discover for themselves how manifold truth is realized through shared universals in music. this in turn also expanding our general view of Chinese music theory. expressed musically. "2# This continues to support the late saxophonist and composer$s ultimate triumph of integrating cosmological concerns with musical practice.. theories. for all theory must. In addition. implicates an original )Afro!Asian. though. In all. here described and reconstructed through the direct application of four Chinese theoretical sources. )if it is possible to realize truth through sound. "1# His 1960 diagram. what follows is yet another example of how John Coltrane$s search has inspired and in&uenced many. speci'c Chinese or African!American sociohistorical sources responsible for the musical conceptions discussed herein are not elaborated upon. a door opens onto a cross!cultural view compatible with more than one practice alone. from a variety of backrounds. Hopefully. such cross!cultural study accepts the importance of comparing historically removed concepts. other ancient musical systems may not align as neatly with John Coltrane$s diagram as with the musical theoretical implications of the Chinese sources. Appropriately. on some level. The larger intent behind this probe is to further a-rm the potential raised by John Coltrane$s successful articulation of his spiritual essence in both theoretical and practical terms. referential approach. carry an inherent sense of the speculative#. and individual practices for the sake of initiating )new. Put more succinctly by Alice Coltrane "1990#. the following work assumes no responsibility for interpreting any speci'c kind of symbology with this material. as )speculative theory. Certainly. whether actually practiced or not. looms much larger than any single or sum source could explain. many other directions inspired by this particular study may be worthy of pursuit on their own terms but nevertheless must be spared here for the more practical purpose of deriving new tools for assembling an alternative take on Coltrane$s late musical creations. For the sake of focus. in the form of aural archetypes. for the understanding of Coltrane. many other cultural!historical contexts well!deserving of similar comparative study are only brie&y treated in the conclusion. Indian. His interests in cosmology had a parallel to his music.. Alain Danielou$s Introduction to the Study of Musical Scales "1943#. it seems to me. putting together what were basically large maps that exhibited the connection between mystical. trying to 'nd things. accompanied with an integrative philosophy of universals. and advanced musical theory..On John Coltrane$s Eclecticism Particularly noteworthy were Coltrane$s cumulative abilities to integrate a diversity of both musical and extramusical information into a 'ercely original and evolving voice. the dog. "134!135#. )Most of the books that absorbed him were on religion and cosmic philosophy. the horse. the less one sounds like any of them. 83# comments. man. And he )continued to develop his musical theories.. Coltrane )for years had been trying to relate mystical systems such as numerology and astrology. according to rumor. The book$s title is indeed suggestive of the range of material on musical matters that Coltrane was pursuing for practice during the 1950s. )we begin .. Nisenson "1995.. "3# Porter "1998. It$s well known that Coltrane utilized many books and studies. this eclectic nature included a fervent interest in various aspects of the metaphysical as well. What$s unusual about Coltrane is that he seems to have built his style out of many of these resources. and scales from around the world. )was also involved with oriental astrology. the teachings of the great spiritual leaders. and trying somehow to pull these threads into something he could play on his horn. is one hallmark of genius.. meshing the basic concepts and techniques with that of his growing musical conception. "213#. 257#.. and Greek tonal systems. theories of modern physics and mathematics. One source available during this time. based clearly on expansive conceptualizations of the materials that he read as well as practiced. Louis!Victor Mialy has mentioned that Coltrane.. The eclecticism gave his style originality!!the more widespread one$s sources. instead of leaving them at home strictly for practice and technique development. into all of jazz and beyond!!an eclectic collection of method books. 255#. Nisenson continues. and mathematical concepts. scienti'c. o%ered those intrigued by both science and mysticism a quick and accessible account of Chinese. Porter "1998. Eclecticism. which is di%erent from the astrology we use in the west!!so he knew the sign of the snake. Coltrane stated: )Some I get into.. "quoted in Porter 1998. "167#. 113# adds that Coltrane )would internalize many of the ideas he had gathered from di%erent world musics. and I don$t get any further than the 'rst few pages!!then I start looking around.. "quoted in Porter 1998. 216# notes that: )One way that Coltrane developed this unique sound world is by bringing into his music!!and through his in&uence. In order to move across a variety of reading subjects while keeping prioritive time for musical practice. exercises.. By the late 1950s. brings us immediately into the almost forgotten science of numerical symbolism. and to make a rapid survey of their application to music in the di%erent traditions. foreword# Since it has not yet been determined if Coltrane actually consulted Danielou$s book. discussion of Coltrane$s non!Western inspirations. as well as universal tendences that fueled his )modal. particularly the signi'cance of Yin and Yang. and Jewish!!notice of Chinese music is remote if not altogether absent "unless one considers general terms like oriental and exotic#. "4# We can only speculate on his creative process in relation to Chinese cyclic music theory in general and. Through musical experience it is easy to see that numbers correspond to abstract principles and that their application to physical reality follows absolute and inescapable laws. Danielou covers areas of notable interest. 29#. and pentatonicism as )the cyclic system. Indian. "5# Until now. Armenian. For instance. has been given through mostly anecdotal evidence (and recording analysis with unfortunately little else to help identify any speci'c theoretical process at work. work of the 1960s.. on how its conceptualization (may be integral to gaining further crosscultural insights into Coltrane$s modal developments after 1959. on )The Cycle of Fifths: The Musical Theory of the Chinese. Japanese. numerology. Music was. we refer to it here as a primary historical source of information through which to relate the theory of Coltrane$s diagram to its Chinese counterpart. It is in music only that this connection between physical reality and metaphysical principles is evident. new in part because it didn$t rely exclusively on traditional jazz materials. justly considered by the ancients as the key to all sciences and arts. the link between metaphysics and physics. which necessarily leads to transposition) "Danielou 1995. in chapter four.. "Danielou 1943. and a careful study of the numbers by which these relations are ruled. through which the universal laws and their multiple applications could be understood. "6# Of all of Coltrane$s world music interests mentioned in his biographers$ writings!!including African.to get a sense of how *he+ collected materials freely from all sources and began to develop a new kind of jazz style. Arabic. Brazilian. The foreword is indeed thought!provoking: All music is based on the relations of sounds. In the present book we try to give some idea of these universal laws which the numbers represent. "7# . more innovatively. therefore. understood through various other musical cultural parameters. for this reason. The inclusivity of Coltrane$s approach toward the many world sources he absorbed and then articulated in such an exclusive manner. consequently. 1#. 22#. by resembling John Coltrane$s 1960 hand! drawn diagram. transposition. carries that paradoxical nature of all great spiritual contributions. while having seemingly little relation to evolving performance practices during their time. it is nevertheless made clear here that the lack of such comparative study by traditional methods of analysis has contributed to the eluding of other more relevant non!Western musical perceptions. thereby generating numerological (signi'cance with pentatonicism and. Fortunately. "and documented since the seventh century B.C. early Chinese acoustical theory has established a pattern of tuning pitch!pipes by a sequence of falling fourths and rising 'fths called the twelve lu.C. The structural integrity of this and similar African!American achievements. are combined to form a conceptual construct which. cyclic division of the octave by twelve "see Fig. through the innovativeness of his own originality. The Tonal System of Fourths and Fifths Since approximately the second millenium B. Music. for its vision is so encompassing that it may include Persian or Burmese perceptions as well as African or Chinese! On Four Sources of Chinese Musical Theory It has been acknowledged that )in spite of the early interest in acoustics by Chinese scholars.. motivates a fresh look into the modal developments set forth by Coltrane himself during the 1960s.. In short. "Liang 1985. described below in very basic and literal terms. John Coltrane$s music may be studied through a wide variety of cultural lenses. may reveal both those particularities and universalities that help us to compare removed sources while compromising neither. the theoretical formulations . all remained essentially at the level of intellectual exercises..#. by the third century B. or pan!tonality. being the representation of the relationship between heaven . continue to retain a structural and philosophical integrity in de'ance of any one style or period. The following four of these historical systems. these )esoteric.Whether or not Chinese concepts had anything to do directly with John Coltrane$s own expansive approach to pentatonicism.C. modal dissonance. theories. .C. The pentatonic scale thus presents a structure that allows it to be an adequate representation of the static in&uence of heaven on earth. 41#. and the names of the seven sheng("also )musical tones. and B*&at+ are masculine "Danielou 1995. from the angular to the circular.. and B# . F... "C*sharp+ D*sharp+. sixty modes can be read "5 X 12 = 60#. G. G*&at+. "C. by shifting the gong towards each of the twelve lu. It is necessary. and those obtained by a downward fourth "upper generation# .. "Chen 1999. in their own 'eld. Arising from the principles of yin and yang. are of feminine character.and earth. Marquis Yi of Zeng$s entombed bell!set.D. The names of twelve lu are written on the inside one.. 67!68#.. E. To express the movements of the universe.. Fifth and Major Third Generation of Zeng$s Bell!Set In addition.# on the outside. if we want to act upon the represented elements. and identi'ed as recently as 1977. A*&at+. 34!35. By shifting each of the sheng !names on the inner plate towards a certain lu!name on the outer plate. seven di%erent modes on a same key are named.. 2#. A.. D. "see Fig. and so on. the sounds will have to submit to the cyclic laws that.. the 'fths thus engendered are alternately of feminine and masculine character. since the sixteenth century. are represented by the cycle of 'fths. But a static representation of a world in motion could not be an instrument of action upon that world. 3#: )The diagram consists of two plates. Nevertheless. the four seasons.. to evolve from the motionless to the moving.. must quite naturally have this con'guration of a center or tonic "gong# surrounded by four notes assimilated to the four directions of space. provides us with a particularly unique .... the plates have been changed by switching the inside and outside plates. Originally. There are two possible directions to rotate the inner plate . "8# Double!Plate Diagrams A two!ring delineation of the six Yin and six Yang tones can be attributed to double!plated diagrams dating back to the 7th century A. dating from the 'fth century B. from the square to the circle. these double!plates illustrated an ancient theory of shifting key "xuan gong# and changing mode "fan diao# in traditional Chinese musical practice "see Fig. The notes in the series obtained by an ascending 'fth "lower generation# . the four perceptible elements.. . The construct presented here represents these major third relationships within a complete cycle of fourths and 'fths "see Fig.. Ching Fang$s Sixty!tone Spiral Referring to temperament as well as tone and timbre .... It appears to be a cultural phenomenon that theory and practice in Chinese music frequently did not coincide.!220 A. 58# further indicates: )The theoretical inscription on the bodies of Marquis Zeng$s bell set provides us a unique sample for learning the early Chinese naming method of the twelve semitones in a pentatonic framework. Players who knew the major!third relations of each note with the names marked on bells would be able to recognize di%erent keys and transpose the music into relative keys in convenience.. Chen Yingshi "1999. reknowned acoustical theoretician and diviner. *allowing+ for the practical use of more scales than . the overblown 'fth system. 4#. 177!178# "see Ex. The Guanzi `adding and subtracting by 1/3$ theory *12!lu system of descending fourths and ascending 'fths+ in comparison to the complex Zenghouyi bronze bell and stone!chime sets *from the earlier Zeng tomb+ is a good case in point... that theory did not often describe practical reality. "Maim 1996.. lu cycles are acoustically more spiral in nature. between the pursuit of absolute perfection on the one hand. than we had initially conceived. also transliterated Jing Fang#..C. the designers of the bell set ingeniously derived the names for the seven supplementary degrees by applying major!third relationship. during the Han Dynasty"206 B.. semitones. Ching Fang "77!37 B. in terms of instrumental technology. 75# has suggested that. and Pythagorean commas to reach near agreement with the reference tone after 53 consecutive operations... unfolding )through wholetones.ancient Chinese tonal system.D. tonal practice and theoretical foundation. constructs a sixty!tone spiral of 'fths.#. Starting with the 'rst four tones from the cycle of 'fths. it )generates the remaining 7 from major thirds above and below the 'rst four fundamental pitches . . In order to contain this open!ended occurrence. )In the light of recent 'ndings we must reconsider the fact that the music of the Zhou period could have been more sophisticated... generating octave expansion with each revolution. thereby supporting that in )the work of Chinese acousticians we witness a remarkable balance between theory and practice.. Liang "1985.C. Realizing that only one major!third is formed by this particular pentatonic scale .. 1#. 2#. "9# This diagram intimates elements of the above Chinese cyclic music theories from late antiquity in such speci'c ways that recognizing or taking note of such valuable clues would insist on shifting our existing perceptions towards Coltrane$s music. or equalized divisions of sound. The spiral is thus transformed into a circle. having articulated the whole of his understanding so exhaustively through his performed music. On Theoretical Parallels with John Coltrane$s Diagram It has been noted that Coltrane. 205. space. a gift to Yusef Lateef (in 1960. We here focus on one of his own cyclic diagrams. 5#. for that matter.. we obtain the equalized chromatic division into twelve half tones on which all temperaments. published in the latter$s own monumental Repository of Scales and Melodic Patterns "Lateef 1981. after at least 1960. after the 52nd 'fth *'fty!third note+ the Chinese follow the series only for the next seven degrees. crucial material does indeed exist from Coltrane$s hand. And yet. which place themselves above those of the initial seven!note scale. "Nisenson 1995.. as a cycle of ascending and descending 'fths delineated by Yin and Yang plates "see Fig. and they stop the series at the 60th note. "McClain 1979. The reason given is that 12 "the number of each cycle# X 5 "the number of elements# = 60. Ching Fang$s )calculations as they stand display that harmony of precision and simplicity properly called elegance. If we neglect the small di%erence between the thirteenth 'fth and the octave. and time. Danielou further explains this 've!octave phenomenon: )In practice. from the linear "or scalar# to the nonlinear "or cyclic#.. 37!39#. the comparable modal perception hereby distilled renders uncanny connections between these earlier theories and Coltrane$s diagram and practice more than a millenium later "see Fig. The following description relates the artist$s elaborate sketch to the above construct "see Fig. inside cover#. The twelve lu "or musical tones#. 5#. are based. 212#. and the six perfect tones can be represented by the sides of an inscribed hexagon. no cadre of letters that could explain to us his development as a musical thinker!!or any other aspect of his obviously complex inner life..and the acceptance of common!sense simpli'cation on the other. "Danielou 1995. could have )left no diary. is similarly articulated between both . for reasons that are symbolic as well as musical. "10# And the theoretical parallels raised with Coltrane$s document further illustrate his own successful musical embodiment of the cosmological with the practical. While Coltrane may not have directly related any of his music to any of the above Chinese systems. 49#. corresponding to the rings$ consecutive degrees between c and f*sharp+ "other numberings also appear underneath the darker pencil in the original diagram#. denies any micro!tuning relevance to Ching Fang$s 've!octave spiral. In order to draw more parallels. rather than alternating on a spiral. and c to e#. since the mathematical formulas Ching Fang used to derive nonequally tempered tones are not necessarily applicable to John Coltrane$s practice. Like Ching Fang.. being conceived in equal!temperament. The chromaticism between Coltrane$s two rings also corresponds to the chromatic notes of the angles and sides of the hexagon in Danielou$s )Cyclic Division into Twelve. Appreciation of both sixty!tone cycles is rendered with an imagined stare up into the ancient spiral and through intersecting revolutions. Clearly. re&ected a numerology of musical tones with natural phenomena. diagram "see Fig. in Figure 6 1 have added the pentacle of Coltrane$s diagram within Fang$s nonequal tempered spiral. just as the overtone series contracts intervallically while simultaneously expanding.e. a*&at+ to c. Coltrane connects all thirty tritone relationships with lines and articulates two overlapping counterrows of the numbers 1!7. A++. we may eventually arrive at the return of a fundamental transposed John Coltrane$s 've!octave cycle... Ching Fang integrated science with the metaphysical and astrological. 12 X 5 = 60#. Emphasis is placed on connecting the chromatic tone!cells in Coltrane$s diagram with Fang$s semichromatic groupings by 'fths "i. however. each fourth/'fth is a cell of adjoining chromatic steps "e. evident in his own sixty!tone cyclic drawing of 1960. B*&at+. as conceived by Ching Fang "see Fig. . A!!#. DeWaskin 1982#. these are still the very interests that would propel the latter$s musical search as well. As has been shown. B+.g. Robinson and Alwein 1980. Although his work provided for a very di%erent sociocultural context than that of John Coltrane. 7#.e.g. "11# In addition. with major thirds outlined as well within rectangular boxes "e. mapping appropriate constellations. in Danielou$s nonequal tempered notation of: C. this is not the place to discuss Chinese temperament and various intervallic measurements or to argue for or against any historical connections with Pythagorean tuning. the above Chinese concepts relate well to John Coltrane$s diagram: both the upper and lower placement of fourths and 'fths with chromatics articulate a sixty!tone cycle over 've octaves of whole!tone scales "both male and female rings# and chromatic scales "combined rings#. In his case. Paradoxically. 211!221. Coltrane$s genius seems to have been in creating a closed system of great numerological signi'cance "i. b!c!c*sharp+ e!f!f*sharp+#. 6#.of Coltrane$s own double rings. and developed mystic rituals involving acoustical experimentation in sound chambers "see Kuttner 1990. would establish a harmonic concept "or at least analytical perception# based primarily on the heptatonic scales and names of Greek modes. In this context. all potential intervallic combinations are left open for speculation. On Coltrane$s Practice Since 1959 and a Proposed Cyclic Perspective Modal jazz. from conventional harmonic function "see Ex. During the late 1950$s he would draw the circle of 'fths and then connect the twelve key centers with lines. Coltrane$s solos. often went beyond plain diatonicism. with fewer chords.. here considered a necessary part of his modal development through 1961!63. and his own scale substitutions. "12# And since it is not clear when Coltrane actually 'rst realized this system "the version discussed here is from 1960#. blues!in&ected minor pentatonics.. The variety of conceptual relationships would seem to have more than likely worked themselves out through his horn as well. "b# chromatic turns. which also exist in Coltrane$s drawing#. and "c# pentatonic patterns "see Ex. the use of three tonal centers!!I wouldn$t underestimate Coltrane$s interest in religion and mysticism..It is questionable whether or not the Coltrane diagram would function solely as a re&ective device for its creator. Surely Coltrane was interested in the mystical as well as aural implications of third relations. the inner and outer plate construct alone begs rotational experimentation. 3#. He had a kind of ecumenical. Porter "1998. mostly as a result of being liberated. progression was being honed.. In relation to this ground!breaking 1959 piece. "14# During the same year that Coltrane was participating in Davis$s modal excursions "presumably# around the time he drew the cyclic diagram#. 2#. Indeed. his legendary )Giant Steps. formally ushered in with the Miles Davis album Kind of Blue "1959#. 150# makes a keen reference to the original diagram: )As for the particular form that *. open!minded interest in all traditions. primarily involving rapid root movements in thirds "refer to the outlined major third sequences in Figure 6. we may never know to what extent it helped shape "or was shaped by# his )Giant Steps.Giant Steps. although using various scalar passages.+ takes!!the use of major thirds dividing the octave into three parts. where tonal sequences in thirds are delineated by "a# arpeggiated inversions. . "13# All this was met with an intensi'ed use of motives. continuing rather to expand on the previous legacy of chromatic passing tones. Su-ce it to say that with regard to Coltrane$s actual practice of his own diagram. period. up through his last works. and yet now this take becomes a necessary alternative in light of Coltrane$s cyclic illustration. where the practical conversion of vertical!chordal structures into nonlinear ones is appropriately derived from the pentatonic cycle of 'fths "or the twelve lu system#. "15# With this point of reference taken toward John Coltrane$s later musical periods. and fourths. 2. m.#. 3. 8!10#. harmonic# structures generated from pentatonicism. perceived as stemming from the pentatonic cycle "see Fig. A derived cyclic concept. thirds. Coltrane would demonstrate the continuity of a thought process that would have . 8!10#. then. will have both major and minor triadic "and so. Indeed. beats 1!2. perceivable through pentatonicism "see Fig. 8 and 9# Contrary to previous approaches. and Figs.It is important at this juncture to remind the reader that Coltrane$s cyclic diagram abstracts intervallic relationships of semi! and whole!steps. leaving the players to their own invention of motivic sequences and patterns rather than prescribing any linear idiomatic or vertical harmonic approach. itself generated from the cycle of fourths and 'fths "see Figs. and Figs. 3. Indeed. inner cover# "3# Sequences built o% the chordal degrees of 1!2!3!5. actual pentatonic scales may only exist here within the abstract realm of stacking fourths or 'fths. perhaps to counter conventional harmonic analysis. m. beats 3!4. and Lateef 1981. Coltrane$s three most distinguishable motives in the rapidly moving )Giant Steps. "17# The innovative take here is on stretching to o%er a more poly!modal perception of the piece. m. "16# As can be seen in Example 3. 3. 8 and 9# "2# Chromatic turns on dominant chords: chromatic tones neighboring each 'fth/ fourth are isolated in Coltrane$s original diagram with overlapping circles "see Fig. 2. as with the twelve lu system. with subsequent pieces from both the 1959!60 and 1961!62 periods. the implications of the original 1960 diagram now allow for a more convincing interpretation of John Coltrane$s integrated modal/tonal development via the intervallic/ motivic as continuing uninterrupted from at least 1959 "with )Giant Steps. 3. chord progression (appear as: "1# The inverting of basic chordal (harmony. another perception of recombining both tonal and modal concepts beyond conventional Western analysis may be attained "see Figs. "18# Considering the above then. where the basic F minor pentatonic scale "with its two secondary tones of the second and )changing. During the )Acknowledgement. "19# Once again.variations of his )Giant Steps.. 5#. the original motive returns with . are also included as part of the b*&at+ and e*&at+ motives#. In measures 33!39 of Example 7. The note G. while not strictly part of the scale. sixth or bian tone. substitutions for the earlier and more basic )Tune!Up. from the same )Giant Steps. while McCoy Tyner provides accompaniment with quartal harmonies on piano. unifying twelve lu cycle of 'fths. approach superimposed over constrictive tonal sequences such as his )Countdown.. by late 1964. appears frequently during the improvisations as an upper neighbor to E The notes D!&at and D! natural both occur. 233# analysis of Coltrane$s source material for )A Love Supreme. with the recording of A Love Supreme. Coltrane revolves and transposes the main motivic cell of a fourth around this pentatonic cycle. 7#. solo. movement. Porter$s "1998.. is compatible with the above: )Much of the melodic and harmonic material of the suite is derived from this pentatonic scale *F minor+. 4#.. a crystallized (concept emerges that can now be directly compared to Chinese cyclic theory. A scale sequence similar to that in Example 5 results from the above. progression "this. a shift is made downward by a whole!step "or by two preceding fourths# to extend the cycle below by d!g !c!f!b*&at+!e*&at+!a*&at+ "see Ex... while during measures 40!45. session that would also include pieces based on pedals and ostinatos# as well as over more expansive one! or two!chord modal pieces like )Impressions. "see Ex. as it is called in Chinese modal practice# appears more closely related to the ancient mode of yu tiao "Levis 1936. 6#. 73# than to the heptatonic Dorian mode (of ancient Greece "see Ex. the sequence revolves around the c!f!b*&at+!e*&at+!a*&at+ portion of the cycle "d *&at+ and g*&at+. which would be spelled: f g"*&at+# a*&at+ b*&at+ c d"*&at+# e*&at+.. Coltrane$s famous transpositions of the 'rst movement$s underpinning motivic cell "minor third!perfect fourth# now fall within the purview of a larger. Coltrane divides the scale into two nonoverlapping *disjunct+ fourths. During the last thirty or so measures of the )Acknowledgement. By transposing this quartalism up or down by successive whole steps!!which is commonly practiced by both Coltrane and Tyner!!the cycle is exercised unbroken while also outlining the Yin and Yang rings of Coltrane$s diagram "see Ex. I do perceive and have been duly re! informed of His OMNIPOTENCE . seeing the sound from many perspectives and angles.. 8#. "20# Recombining 'fths may give a pentatonic impression. 1964!65. an artistic and religious testimony that acknowledges both resolution and pursuance within an understanding initiated some years earlier. it is more than scale or mode. now and again through the unerring(and merciful hand of God. such nonlinear conceptual development would explain Coltrane$s ability to move through his modal periods of 1959!60. yet expressed motivically.. The most profound concept of non!Western for Coltrane was its cyclic. It would allow him to orbit a certain sound. fuller. A Love Supreme would become one of Coltrane$s best!selling masterpieces. was fueled not only by Tyner$s quartalism on piano but more viscerally by Elvin Jones$ polyrhythmic insertions on drums. 216. I experienced. by the grace of God. and sound. spirit. in mind. Jones was a de'ning impetus behind the tonal/ rhythmic sum of Coltrane$s musical expression. it becomes more and more likely that his 1960 diagram would have practical bearing on the innovative directions he pursued. "Nisenson 1995. providing a logical metric . Yet Coltrane somehow melded the cyclic nature of Eastern music and thought with the elements of jazz . 113!114#.more intense recombinative breaks of the cycle "see Ex.... Aristotelian worldview . nature. a spiritual awakening which was to lead me to a richer. Viewing the &ow of music.. in terms of cycles seems incompatible with a linear. a period of irresolution (did prevail. Inevitably. It has been reiterated that )The new technique would help him escape a linear form of improvisation to a more circular form.. attempting new juxtapositions of that sound. This album is a humble o%ering to Him.. Indeed. as Coltrane "1964# tells us: )During the year 1957.. 1961!63. musical enlightenment. and of our need for.. As time and events moved on. as well as human life itself. but thankfully.. "Fraim 1996. Furthermore. and made it work. 76#. into his 'nal stages of so! called )cosmic. more productive life.. through the mid!sixties.... The driving intensity behind Coltrane$s articulation of this Afro!Asian concept. rather than linear. and dependence on Him. Increasingly. he )seems freed from standard Western musical theory. I entered into a phase which was contradictory to the pledge and away from the esteemed path. and eventually beyond. when one studies Coltrane$s music from 1964!65. The more we listen to Coltrane. chord or cycle. the more we Westerners are able to absorb the Great Cycles of the East into our linear minds. etc. taken through the Chinese transposition of twelve lu.counterpart to the open landmarks of modal jazz harmony. in a general way. and experiences that normally are left beyond more contained frameworks of study.. In this case.. two individuals like Ching Fang and John Coltrane each shared the task of reconciling. Clearly. perceptions. and their connections with a removed musical/theoretical tradition that historically focused on the cyclic and numerological. the convergence of spiral and cycle. within a closed system of sixty degrees.. on George Russell$s . with Coltrane$s 'nal drummer. by re&ecting on Coltrane$s 1960 diagram. itself the result of the 'rst 've 'fths of the cycle. altogether rests on the common extramusical inspiration of the subjects of study themselves. it allows for all tonalities to be expressed within one unifying cycle "see Fig. the paralleling of ancient Chinese esoteric theories with a contemporary African!American musical legacy. Speci'cally here. through Chinese acoustical theory. from 1967. And so it is di-cult to imagine taking the cross!cultural path toward musical culture without inevitably reaching somewhere across some uncharted spectrum of universals. or the key of C to B#. "22# Conclusion Cross!cultural comparative analysis of the above kind takes speculative risks in order to try to stretch and hopefully to connect those musical sources. 10#. etc. b e a d g c f b*&at+ e*&at+ a*&at+ d*&at+. or the key of C to A*&at+. c g d a e b *sharp+ c*sharp+ g*sharp+ d*sharp+. the other. the convergence of vertical and horizontal tonal organization into one unifying nonlinear concept "also see note 15. Since the pentatonic is a linear translation of both major and minor tonalities combined "their triads are contained in the pentatonic. and its &at side "e. some of his practice. we 'nd that. as an intuitive process no matter how well informed. this does not necessarily imply that Coltrane was making any direct reference to such sources.# "see Ex. Rashied Ali... which demonstrates how Coltrane arrived at relating passing tonal centers by rotating the cycle between its sharp side "e. for even though his was a research that touched upon many areas. subsequently led )free. cyclic theory allows for a musical perspective that reconciles the vertical and triadic of a Western harmonic perspective with the horizontal and pentatonic of a non!Western modal perspective.g. 9#. the self!realized sum thereof remains crystallized in whole by the music itself.g. "21# A good example of this last period is )Venus. as shown in Figure 8#. through a primarily African!American musical practice. the dilemma of their day: one. Whether deliberate or unintentional. you will con'rm that there is a common base .. and major thirds. it is with this motivation that such innovations are inevitably connected. further correlations with the Coltrane diagram can be made by comparing the earlier Danielou reading of Chinese symbolism and tonal system of fourths and 'fths!!having to )express the movements of the universe. fourths. like the circle. As Coltrane summarizes.)Concept. Present in all the constructs discussed above are some of the earliest and most enduring archetypes known. involving the four elements. or Zeng systems of 'fths. Herein lies nature$s seal as related to the lu. such aural archetypes establish a collective source of musical inspiration that has somehow transpired both time and place in world history. and with any outside in&uences. the pentacle or pentagram has perennially stood for in'nity. And. at any time. seven! and particularly sixty!year periods that mark the renewal of cosmic order "Diop 1991. Spirals and number rows of seven dots or lines have indeed existed since the Paleolithic period ... while concentric circles are forms of the natural world re&ected from Buddhist mandala (to Aztec calendar (systems. What is certain is that their cosmological and numerological incentives should not be understated. what are here referred to as aural archetypes. they are themselves unconscious or primordial forms that are present and active in every psyche. but .. The latter peoples are said to include spiral matter and principles of opposites as the basis of creation. With regard to similarly organized tonal expressions represented within such basic geometric forms. at any place. then. In general.!!with the Dogon and Woyo cosmologies of West and Equatorial Africa . language. It$s this universal aspect of music that interests me and attracts me. respectively. 23!26. can rearise spontaneously. or double plates of shifting key and changing mode. their folkloric aspect!!and you$ll discover the presence of the same pentatonic sonority . and wholeness "Fontana 1993. and migration. 13#.#. placing importance on the universe as )number that moves. Given this Jungian sense. . for after all. as aural archetypes the above may leave their musical content up to the cultural!historical stylization (of each performer. )are not disseminated only by tradition. Rendered in visual terms. *T+ake away their purely ethnic characteristics!!that is. or comparable modal structures. 59#. For instance. )If you want to look beyond the di%erences in style. 314!321#. "Jung 1959. perfection. while the content of archetypes is determined by the material of conscious experience.. actions. I want to speak to their souls.. 1#. Alain Danielou "1904!94#. "1. where this singular drawing then becomes the illustrative essence of Coltrane$s chi. 1967.. Such matters of human inspiration were a part of Danielou$s mission as well. emotional states. "quoted in Zimmerman 1967. my being. founder of the International Institute for Comparative Musicology in Berlin.# The term referential is used here as the practice that )also communicates meanings which in some way refer to the extra!musical world of concepts.that$s what I$m aiming for. has been considered by W. Other sources in English about Chinese music theory that were in print during Coltrane$s time .. My music is the spiritual expression of what I am!! my faith. just as they do in a poem or a painting. the academic and mystical turn re&exive. and character. Coltrane said: )My goal is to live the truly religious life and express it in my music. which involves raising the translation of a text more closely toward the artistically accessible. "Meyer 1956. thereby making it imperative that he articulate his philosophy more through the musician than through any abstract writing. culture and ritual. This is why his diagram is of such value for the rest of us. "3. back cover# to be )the 'rst to wake up the West to the universality of musical harmony and its potential for planetary consciousness. It is therefore also important to note the potential role such musicologycan have. my knowledge. "quoted in Porter 1998. 232#. Mathieu ("1997.. "2. when you play there$s no problem because the music is just part of the whole thing. from a man much too preoccupied with the process of playing out his self!realization than writing about it. "23# Coltrane$s attainment on July 26. we can de'nitely accept the obligation of his musical tradition$s aural representation of theory. It is equally important to remember that )absolute meanings and referential meanings are not mutually exclusive : that they can and do coexist in one and the same piece of music. It is somewhat like looking into the keyhole of a kaleidoscopic world. a path begun some years earlier. manifested ultimately through sound. If you live it. "quoted in Porter 1998. is testi'ed by his last works and ultimately by his timed departure. As he states it: )I$d like to point out to people the divine in a musical language that transcends words.. For Coltrane. of this realization. where a master intellect is expressed in increasing harmony with a spiritual domain. Through his writings.# Of this. A.# Coltrane also studied related materials such as Slonimsky "1947#. interwoven with undeniable universals that defy time and space. 211#. 78#. Similarly. and how that interest was embodied musically in the more open forums generated by modal improvisational thinking. Here. Persian. Yasser "1932.# Regarding Coltrane$s awareness of or access to Danielou$s book.g. 113#. which Coltrane would have frequented through the late 1950s. which is usually related to the concept of the Greek modes or scales rather than to a cycle of 'fths. the best theoretical source for Coltrane$s modal jazz period of the 1950s. There$s a lot of modal music that is played every day throughout the world. I seem to be going through a modal phase. the proposed cyclic perspective on what has commonly been called modal in jazz is o%ered via a musical/cultural theory historically built on early Chinese perception in order ultimately to expand the use of the term modal jazz to include this view as well. Eric Nisenson("1995.include Danielou "1943. at the particular stage I 'nd myself in. and so could not verify witnessing the source or use of such a diagram. Algerian. "7.. "4. 157# has used George Russell$s Lydian Chromatic Concept. It$s particularly evident in Africa. being the eclectic person that he was. 109# has also stated that.. he was not aware of Coltrane$s getting into such books until the latter part of the 'fties. see also Danielou 1995#. 63!80#. although he and Coltrane practiced together often. "5.# A Chinese concept of modal will certainly di%er from what has been historically categorized as modal jazz. Japanese. has con'rmed having the original Danielou book since at least 1953 "according to card sizes used only prior to that date#. Coltrane writes out various scales that he identi'es by ethnicity "e. 25!39#. Yusef Lateef "1999# has remarked that.. he labels two pentatonic types as Chinese "Simpkins 1975. Jimmy Heath ("1999# stated that. It is interesting to note. for some time between 1955 and 1959. that the catalog department for the Free Library of Philadelphia ("Central#. without knowing de'nitively.. it was quite possible. Coltrane was making a statement with profound social and cultural as well as musical implications. related to his search for universals in music: )Currently.#. "6. therein. and Levis "1936. )By turning to non!Western sources in the creating of his music.. unity. and transcendence served as one of several factors shaping the deepening interest of jazz musicians in non!Western religious and musical expressions. knowing that he was prone to look into many things while he lived. Coltrane has also been quoted as including China in the following.. Balinese. though. etc. Arabian. in attempting to tackle the elusive subject of )how spiritual ideas of essence. he himself was )o% the scene. Egyptian.# Ingrid Monson "1998.# In a private workbook. but if you look . . a full section is devoted to )Diatessaron Progressions. 894. Along Western lines. dated around 1957!58. Hamel was right when he said: `the root of modality common to all non!European and European cultures is the 'rst step toward a world music.. in the geometrical sense. can pertain to(either the straight or curved trace of a moving point.# Such constructs are also relatable to Slonimsky$s Thesaurus of Scales and Melodic Patterns "1947#. "described as the )interval of 2 1/2 tones. 67#. "11. "quoted in Porter 1998. render a linear outline for the same twelve!tone generation by 'fths and major thirds that also aligns both Coltrane$s cyclic diagram and Zeng$s bell!set. D. "8. F. its nonlinearity expressed when moving between several points of departure at any given time. 377#. 125#.. 109!123#. toward a common language. all musical cultures of all periods and eras of mankind have been modal.# All sources herein on Chinese music are in English. and 903. Coltrane$s exploration of fourths has been identi'ed in his earlier playing along to Bartok$s Concerto for Orchestra.at Spain or Scotland. "10. where the strings stack tones up in quartal sequence "E. in particular. one of the most frequently noted sources of some of Coltrane$s practice during the late 1950s. An earlier cyclic drawing. without anyone losing their identity. It therefore seems that as a manner of simply being. that mode can relate to the cyclic as well "and cyclic need not always refer to the strict return to a point of departure#. Indigenous musical terminology (has been used as sparingly as possible and only when an equivalent description is not considered adequate enough to relate concepts cross!culturally. With Coltrane$s )Giant Steps. to add further . consists mainly of lines connecting all intervals within a cycle of fourths and 'fths "Fujioka 1995.# Concerning the diagram. Therein. etc.# "Porter 1998. "9. "Mathieu 1997. B*&at+. India or China. "Powers 1980. A. 528#. Patterns 851. or any set of tones. 2111#. "Slonimsky 1947. depending on the particular musical and cultural context.#. 223!224# puts it another way: )Generally speaking. Lateef "1999# has remarked that he did not ask for an explanation but simply wanted the diagram. 149!150#.# Although linear.$ or both. Joachim Ernst Berendt "1987. and that Coltrane generously gave it to him. you$ll discover this again in each case. a perfect fourth. as in a scale: )the incrementally ascending or descending arrangement of the notes of a mode. C. Mode has indeed been )de'ned as either a `particularized (scale$ or a `generalized tune. outlining the objective of )equal division of 've octaves into twelve parts.$. "the second half of which revolves around tonal centers a major third apart# being directly linked to Slonimsky "1947# "see Porter 1998. it is here more descriptive of the former in music. # Figures 8!10 were originally published by this author in The Horn Call "Modirzadeh 1995. and for the way he develops each of them. 188# adds. or "3# a minor third above or below "e.. the same concepts of inside and outside playing that characterize the improvisor$s formulation of melodies from chords. Jones "1998. he also recorded with George Russell that same year.# Refer to Lewis Porter$s "1998. "13. 73#.. In Coltrane$s opinion in 1962. applying.g. from the cycle#. If not directly in&uential on Coltrane$s early modal developments. which is discussed in the conclusion..: )Coltrane spontaneously composed a tightly uni'ed solo notable both for the abstract quality of its melodic motives. Mathieu "1997.borrowing a single note. from c to e*&at+ or a!!. 162# descriptive motivic analysis for Coltrane$s solo on )So What. from the cycle#..borrowing two notes.borrowing three notes. 161#. Mathieu was )consistently proving himself one of the best in musical theory. A. "12. who articulates harmonic experience with a 've!limit lattice of twelve centrally located tones fashioned by a similar arrangement of 'fths and major thirds.# Berliner "1994. from c to d or b*&at+!!. Russell$s concept.g.. from c to g or f!!. it is worth noting. in a sense. derived itself from both the linear "scales# and nonlinear "the .. 61#. "14. "15. as in traditional ensemble practice since the eleventh century. from the cycle# "Chen 1999. "quoted in Simpkins 1975. "2# a major second above or below "e. Chinese pentatonic and heptatonic key changing "gongche!notation# mainly involves the shifting to: "1# a 'fth above or below "e.# Along with Coltrane$s reteaming with Miles Davis in 1958. for a future study perhaps. folk practice is our best guide to its practical application. 75!76#. "16. that in regard to Coltrane$s key!changing practice with pentatonics.correlation to the seemingly unrelated Zeng bell!set illustrates the notion of aural archetype.# Although the focus here is not to compare traditional Chinese with modal jazz practices.g. knowing of the composer$s innovative The Lydian Chromatic Concept of Tonal Organization for Improvisation "1959# at least since that time. )While this is a subject on which Confucian theorists have expended vast resources of energy for over two thousand years. both angles may now prove mutually instructive. I believe that this is also exempli'ed in the work of W. 225# remarks that )artists `work and rework a mode$ by superimposing di%erent theoretical models upon its simple frame by embellishing it with elements outside its tonality. certainly renders an intellectual and philosophical frame to much of the overall modal "and consequently. on the road to free jazz.. But after several tries and failures and failures at this. on separate occasions. "18....... He continued: )Many musicians believe that Coltrane$s free playing was derived from playing `Giant Steps$ patterns over the modal pieces. It carries tonality to the point where it begins to lose its identity. it seemed better to have them free to go!!as free as possible..# Ekkehard Jost "1994. have mentioned to this author. "17. which. and we all go down this winding road. "quoted in Porter 1998.... including James Moody and Sonny Simmons. both based on the foundation of the perfect 'fth. chooses to perpetuate the vertical! chordal perspective of Coltrane$s )Giant Steps.$ the restrictions of vertical!oriented improvising led Coltrane to return to modal playing and thus concentrate again on horizontal melodic development. that based on ostinatos and that built on the `Giant Steps$ harmonies and melodic patterns. non!Western# jazz practices from this period on: )The Lydian scale ... . This example of Coltrane$s work played a negative role . It is interesting to note that Russell$s own cyclic source of conception seems to become Coltrane$s as well. And then you superimpose (whatever sequences you want over them.cycle of 'fths#. Other jazz masters. Where Martin Williams"1967# heard an E!&at pedal tonein this piece .. C#.# With regard to the vital integrative forces of this period. But during his solo he is clearly playing the `Giant Steps$ over the pedal point as well. unfortunately. the importance of the perfect 'fth interval as a source of tonal generation. to the detriment of its modal relevancy between Kind of Blue and My Favorite Things: )`Giant Steps$ reverts to the multi!chordal structures Coltrane was working on earlier. About a year after `Giant Steps.. is the strongest tonality or chord producing scale that can be derived from a cycle of intervals of 'fths. it is impossible to imagine . Kofsky "1998. "223#. )has astrological signi'cance *and+ is said to represent love... In this impressive transformation.... 166#.. because I was delving into sequences. "166#.. will produce all the twelve tones of the chromatic scale.. and I felt that I should have the rhythm play the sequences right along with me. . Porter "1998# has pointed out that the title of )Fifth House. technical App. the A sections are played over a pedal point (while the bridge is speeded up using his `Giant Steps$ chord substitution (formula. 23!25#.. what in fact occurs is an uniterrupted sequence of arpeggiated chords. if carried farther. 261!262# has independently a-rmed that: )Coltrane for some time persisted with both of these improvisational strategies. "Russell 1959. As Coltrane himself put it in 1961: )At 'rst I wasn$t sure. . and his encouragement of Elvin Jones$ polyrhythms. The earlier version continues motivic development in the 1959!60 vein of runs and passages in linear motion.. "20. In doing so.. A parallel comparison can be made here with the Chinese musical ensemble concept of san ban.. Turino "1997. Coltrane helped create a new rhythmic basis for jazz. 214# adds: )So Coltrane looked for ways to thicken the rhythmic texture of his music even as he simpli'ed its harmonic motion by keeping to a repeated pedal point.. "Chen 1999. Such insistence on a pedagogy based on earlier modal jazz practices of the 1950s "e.# As a counterpart rhythmic concept.# )Venus... These repetitive. One result is the play!along record to A Love Supreme. we need more rhythm. "1967# infers the diagram$s cyclic concept of tonal cell!recombining: )The new context of Coltrane$s last music changed the meaning of his dissonance. 165# states that: )African music is often cyclical and open!ended in form involving one or more repeated melodies or rhythmic patterns "ostinatos# as the basic foundation of a performance. So it was not about polytonality but shifting or changing tonalities.# The clearest examples of Coltrane$s conceptual growth during these periods are his two televised versions of )My Favorite Things. Miles Davis$ Kind of Blue# is ultimately misleading and misrepresentative (of both the proceeding "bebop# as well as succeeding jazz practices under discussion. and I want to experiment.. meaning a )non!metrical beat . 74#. . thereby extending the vein set with A Love Supreme some months prior. cyclical pieces are often repeated for a long time with gradual variations added as a performance progresses."19. his adaptation of African rhythms. the 'rst in November of 1961 in West Germany (and again in August 1965 in Belgium "featured in the 'lm The World According to John Coltrane#.# For instance.. "21. led by late 1965 to the elimination of strict time!keeping in his groups.g.$ The growing rhythmic complexity of his music. Porter "1998. free from both meter and tempo. where the soloist is instructed to improvise on an F Dorian mode. `I feel that since we have used fewer chordal progressions. "22. while the latter breaks away with de'nitive fourth and 'fth intervals in cyclic progression. He said in 1964. the Jamey Aebersold "1982# approach to jazz improvisation (has contrived a scale syllabus by which all practices under its purview are forcibly identi'ed. made up of alternating scale degrees that spell out two seventh chords completely unrelated to the original melody. The distinctions between motif. 2 *October 2000+. for computer! graphic representation of the Chinese sources. My favorite things. Impulse Records A!77 "1964#. Impulse Records A!42 "1961#. . it )can be illuminated through the examination of selective concepts relating to (psycho!aesthetic purpose.. . Steve Coleman and Pascal Bokar.. by moving back and forth between keys. as well as his exhaustive work on Coltrane "1998#. both of whom o%ered their own insights and critique toward the following work. and mode are blurred. Ted Williams. approach and symbolism. "Liang 1985. or )breath. Originally published as )Spiralling Chinese Cyclic Theory and Modal Jazz Practice Across Millenia..+ are sometimes ambiguous. Musically. he tended to create some tonal structure in his improvisations. from which a majority of references on the artist are made herein. 235!264#... referring more to one$s mastery of his or her own inner )energy. sometimes in a particular sequence.. this revised version makes possible the bridging of those musical scholarly communities represented by the Journal of Music in China and Black Music Research Journal. respectively.. !!. In practice.# Literally )air. chord. Atlantic Records 1311 "1959#.. no. Yusef Lateef and Jimmy Heath. Giant steps. A love supreme. it may be more useful to speak of harmonic 'elds. 277!280#. Acknowledgments are in order for Lewis Porter$s invaluable support during the last stages of this article. and it might be best to simply identify where Coltrane is venturing to the &at side and where to the sharp side. he could move from one key to another at will. "Porter 1998. !!. )This ambiguity is itself one of the distinctive features of the music. for introducing me to the Danielou source as a crucial link in relation to both this and an earlier cross!cultural work "Modirzadeh 1992#. Schott "2000.. Impressions. John .. "23. Atlantic Records 1361 "1960#. for introducing me to the Mathieu and Diop sources. 171#. 359# adds. As well. and Tony Jones. appreciation goes to Dr. !!. in Journal of Music in China "2.Coltrane$s changing !key approach also di%ered from the earlier music in that . The key areas *on )Venus. DISCOGRAPHY Coltrane. Joachim Ernst. Thinking in jazz: The in'nite art of improvisation. 1995. A love supreme. Alain. 1987. 1943. Civilization or barbarism : An authentic anthropology. Davis. Diop. Danielou. New Albany : Jamey Aebersold. A song for one or two: Music and the concept of art in early China. of Introduction to the study of musical scales. New York Coltrane. Chicago: University of Chicago Press Chen Yingshi. Rochester: Inner Traditions. Ann Arbor : University of Michigan Center for Chinese Studies. translated by Qinru Zhou. 1990. ed. London: India Society. 1994. Fundamental theories of Chinese traditional music in ancient writings . New York: Lawrence Hill (Books.!!. Introduction to the study of musical scales. John. 28. Paul. REFERENCES Aebersold. 1982. Berliner. 1999. Interstellar space . 1982. !!. Nada Brahma. Rochester: Inner Traditions. "Rev. Berendt. Journal of Music in China 1: 55!76. 1964. Kind of blue. 1943. . Coltrane. The world according to John Coltrane. Miles . Columbia Records (CL1344 "1959#. Music and the power of sound: The in&uence of tuning and interval on consciousness. vol. The world is sound.# DeWoskin. 1991. Jamey. Liner notes. Cheikh Anta. Coltrane. London: India Society. Alice. Interview by Robert Palmer . Translated by Yaa!Lengi Meema Ngemi. Impulse Records ASD 9277 "1967#. Kenneth J. A new approach to jazz improvisation. Impulse Records A!77. 1959. Translated by R. 1999. The archaeology of music in ancient China. Stephen. David. Repository of scales and melodic patterns. McClain. Hull. Ohio : Great House Company.C. Foundations of Chinese musical art. Folk music of China: Living instrumental traditions. Ekkehard. San Francisco: Chronicle Books. Spirit catcher: The life and art of John Coltrane. Personal communication with the author. New York: Oxford University Press. 1996. with Lewis Porter and Yoh!Ichi Hamada. Kofsky. New York: Da Capo Press. 1998. Jung. Heath. John H. Amherst. Jimmy.Fontana. Chinese cyclic tunings in late antiquity. 1998. July 10. 1985.: Scarecrow (Press. John. Personal communication with the author.: Station Hill Press. The secret language of symbols. 1990. Fritz A. Lateef. Fraim. Barrytown. Stephen. Music of the billion. !!. 1995. Lanham. New York: Bollingen Foundation. Fujioka. N. Mass. New York: Heinrichshofen Edition. Ethnomusicology .: Fana Music. Jones. New York: Paragon House. Yasuhiro. Yusef A. The shaman$s doorway: Opening imagination to power and myth. The archetypes and the collective unconscious . West Liberty. Shanghai: North!China Daily News.Y. Larsen. Jost. John Coltrane and the jazz revolution of the 1960s. John Coltrane: A discography and musical biography. 1979. Carl G. 1981. Levis. Liang. Ernest G. 1994. 1988. Md. Free jazz. 1999. Kuttner. 1992. Frank. New York: Path'nder.F. 1936. Mingyue. November 19. 1995. Rochester: Inner Traditions. Monson. John. the Near East. New York: Granary Books. William P. 1998. 1996.D. New York: Scribner$s. edited by Bruno Nettl and Melinda Russell. Nisenson.: Prentice!Hall. 1975. Mathieu. 1997. Powers. New York: Da Capo Press. 2000. !!. W. 149!168. Music cultures of the Paci'c. Eric. In In the course of performance. Weisbaden: Steiner. diss. Lewis. 1980. 2: 205!224. 1947.(23. In Arcana: Musicians on music. Ascension. Mode. Harold S. Cuthbert O. )We are revealing a hand that will later reveal us. John Coltrane. and Asia. The Horn Call 25. A. Coltrane: A biography. Russell.. Slonimsky. George A. Englewood Cli%s. Oh freedom: George Russell.J. N. . Kenneth. 3: 75!76. New York: Macmillan Publishers. 1959. Thesaurus of scales and melodic patterns. 1956. part 3. Trans!intervallic exercises for the post!modern improviser. A critical study of Chu Tsai!yu$s contribution to the theory of equal temperament in Chinese music. 1995. Simpkins. 1980.: Notes on form and harmony in Coltrane$s work. Porter. and Erich F. Robinson. 12:376!450. Wesleyan University. In The New Grove dictionary of music and musicians. no. edited by Stanley Sadie. . Ingrid. Harmonic experience. 1998. Ann Arbor: University of Michigan Press. New York: Herndon House. 345!366. 1992. Schott. Nicolas. Chicago: University of Chicago Press. and modal jazz. New York: Concept Publishing Company. Ph. no. Chicago: University of Chicago Press. edited by John Zorn. The Lydian chromatic concept of tonal organization for improvisation. Alwein. Emotion and meaning in music. Chromodality and the cross!cultural exchange of musical structure. Hafez. Meyer. Modirzadeh. John Coltrane: His life and music. Leonard B. D. Upper Saddle River. from UCLA(and a Ph. with an emphasis on Iranian and African!American musical cultures in particular. N. John Coltrane!!Man in the middle. Down Beat "December 14#: 15!17. 1967. Joseph. Martin. by Bruno Nettl et al.A. New York: American Library of Musicology. Williams. In Excursions in world music.J. 161!190. The music of Sub!Saharan Africa. 1967. 1932. Paul.: Prentice! Hall. from Wesleyan University in ethnomusicology and is Assistant Professor of Jazz and World Music Studies at San Francisco State University.. Yasser. He is also an active saxophonist in the creative music scene of the larger San Francisco Bay area . Newsweek July 31: 78!79. 1997. His interests lie in cross! cultural perspectives regarding the role of improvisation and innovation in musical tradition.Turino. Death of a jazzman. Zimmerman. A theory of evolving tonality.. Thomas. HAFEZ MODIRZADEH received an M. 2nd ed.
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