Style:

Ballad.

Form:

A1-B-A2 (20 Bars) [8-8-4]

Coda:

The final resolution back to the tonic is used as a tag before the repeated modulation of IMaj7 - IVMaj7 brings the performance to an end.

Key:

Ab Major

Harmony/Overview:

The harmony of this composition is not at all conventional, and it also features extensive use of pedal points throughout. The entirety of the A  sections take place over an Eb pedal and begin by moving from IImi7 to Vmi7. However, the following turnaround which returns back to the tonic  can be much more difficult to navigate and many lead sheets will contain  varying changes. While Amaj7#5/Eb - GMaj7#5/Eb - AbMaj7/Eb seem to be the most well-suited to the melody, it is the specific borrowing from  the melodic minor scale which conveys the modulations convincingly. While the intial chord can treated as AMaj7#5, any of the chords/scales  from its parent scale of F# melodic minor can be effective. The same goes for GMaj7#5 (E melodic minor). The B section takes place entirely  over a Bb pedal and also moves through a series of equally seemingly  unrelated chords.

Recordings:

This song has been recorded over 245 times to date. Coltrane first introduced it on his album Giant Steps in  1959, and two alternate takes were also recorded for the album which would later be released on the CD reissues. Coltrane regarded it as one of his favorite compositions and would perform and record it on several occasions well throughout his career. Alongside Eric Dolphy in 1961,  with his Classic Quartet in 1962, 1963 and 1965, and even with his  second wife Alice Coltrane in 1966. It continues to be performed to this  day and remains as one of the most unique ballads in the repertoire.

JGC Top Picks:

John Coltrane, Live at the Village Vanguard Again!, 1966

Cedar Walton, Live At Boomers, Vol. 2, 1973

George Garzone, Tuscia in Jazz, 2019