cant a7 Riffs for Piano Riffs ae aus the styles of Gréat jazz pianists like : dB [-tleee)«\ oCovalbuncra Y ¥ and offers, by Mitch sae Indispensable forthe in Whe needs @ tepertory of authenti¢ q Bo msel(o)l ice)Contents Introduction 6 Jazz Riffs of the Bebop Era: The Farly 1950's 7 The Early 1950’ 7 Chord Voicings 7 Scales Most Commonly Used 7 ILV Riffs 8 Riffs of the Late 1950's 10 The Baron Returns 12 Rhythm Changes 16 Jazz in the 1960's 20 Two Widely Used Diminished Scales 20 Common Patterns for the Diminished Scale 20 1960°s Chrd Progressions 23 ‘Two-Finger Chordal Riffs: Blues in F 28 Sola in Octaves and Chords: Blues in F 29) Modal Jazz 30 Chordal Riffs in the Modal Style 37 Discography 39Introduction One of my main purposes in writing this book has been to clarify the musical lan- guage of today’s jazz musicians. The rhythmic, harmonic and melodic advances in jazz technique since the 1950's are presented in such a way that the reader will develop a strong sense of musical organization. Coherence isa key factor in achiev- ing musical expression; structure and organization are emphasized throughout the book. I suggest that you examine each of the musical examples in several ways: (1) Study the scales involved. (2) Check all the tones that arc used. (3) Observe how the notes are combined to create the different riffs and melodies. (4) Search for the musical congruity. Some examples are longer than others, but all are composed of the same basic ingredients. A.word on interpretation: all notes written (JJ J) _), in even cighths, are generally played and phrased (J) JJ _). in dotted eighths and sixteenths; the strong accent (>>) falls on the dotted eighth. ‘The rhythmic expressiveness so essential (0 good jazz is givatly enhanced by playing this way. Musical evolution occurs on each page of this book. Creative expression constantly grows; from one note to the next, the musical thought expands and flourishes. The creation of a musical solo is like the blossoming of a flower: a slow and steady process where every movement creates a new one, and each has its own relevance and integrity. Don’t be discouraged or impatient. This book is designed to help anyone and cvcryone interested in playing jazz; the examples are clear, precise, and explore a wide range of musical thought. It can help any jazz student learn, grow and enjoy.Jazz Riffs of the Be-Bop Era: The Early 1950's Chord Voicings cm? x7 m7 Fv m7 F7 y Scales Most Commonly Used C Dorian Scale = a Scale Alteratiois Jazz articulation requires that the eighth notes sound: — = = ee oe tee Se | When they are written: aS SSS == |IL-V Riffs m7 FT? Fis Ke m7F7 m7 cm) = Fv m7 Fv a ay feb TH For maximum effectiveness these riffs should be played in all 12 keys.Riffs of the Late 1950's Sa SS II — V Riffs In Other Keys Abmaj?Bm7/EHere is a tune combining several be-bop riffs. The Baron Returns Mitch Kerper oy cm 7 Ab mi © amsco Music Pubishing Company, 197The following material consists of typical improvised choruses on “The Baron Returns.” Each of the phrases can be singled out as a useful riff to apply to the chord type indicated above it. cm? Bbm? Am Abm7 Db? Gm7 ce F c Abm7 ___pb7 cb Gm7 C7Abmaj? Gm regahorss Bbm7? = Am " Se DS é id Se ie ge te aa bens se G Abm7 Db? GbGm7 c7 F Bhm7 eb7 vb? G Bbin? Eb ab 3 i Gm7 ‘Abmaj7 7 7 cb mai? maj Gm Abmal Gm EbmalRhythm Changes Here are four possibilities for the first section of a standard jazz progression, called “rhythm” changes after its use by Gershwin for the tune “I Got Rhythm.” They are followed by the chord changes for the bridge section of the progression, Bb Be mh Dm Db Gm 7m? pb 79 Ebmaj? AbI3_ Dm? G7b9 cm? E79 Bh maj? G139— om? FIIbS Ab© G7 Ghmaj9 FIS Fm! IpSaug! 1Ebmaj? A1369 4413 GTaug? Ghmaj7 7S *F AbI3— DbTaug? —C7aug?- Al Abs gl3 cbl3 gi3Kmllgb7 Ebm!1 —ab7 Dbm!l_ Gb? Cmil pT Fim!l yl Emil a7 Delete? m7? sg?Applying riffs to this chord progression offers the following possibile combinations: Bb c7 m7 FT Bb G7 m7 F7 Fm? Bb7+5 Ebmaj? Ab?Bb cm? 7h Bbmaj? _G13b9 cm? 1369 Ghmaj” Eb maj? al3b9 Ab 13 Gaus? may FutS Ab13 Mbaug?cTang? FI abs GB ob gl3 Fim B7 Em? AT. pb? G7? cl F7 BbJazz in the 1960's Two Widely Used Diminished Scales © PePBININN PLY VS whole half whole half half whole half whole Common Patterns for the Diminished ScaleYou can usc the following riffs with a C pedaktone in the bass: Et he ache tee — ete te gee it. Tay Sasty despot Dict et felit tetera | | = oS = 3 ¥1960’s Chord Progressions Progression Number 1: ch?) Bib pp iborpibar Ghiba 69 4b9 gtibsy ceo a by RiffsSEI Progression Number 2 cba Ebbo ob Ae cba abd: : 7 24Progression Number 3 Bmaj? - S om S Le ToL minor3rd perfect 4 minor 3rd perfect ath Braj” D7 Bb7 Ebmaj7 D7/2nd inv, Gmaj7 Db7/2nd inv, Ebmai? ‘This progression can he applied to several well-known tunes, including “But Not For Me,” “Giant Steps,” and “Night and Day.”Riffs Bmaj? pb? Gmaj7 Bb? Eb pb? Gmaj? Bb? Ebb 7 Bh? gh 7 Giaj’ Braj? D 7 ‘7 Bmaj? D a Gi Bb? Eb Bmaj? pb? ‘maj? b i7 Bb7 EI eae pb? GmaiBmaj’ pb? Gmaj7 Bb? Ebmaj7 b + Am? b7 Gmaj? Bb7 Ebmaj” re7 Braj” Fm7 Bb7 Bb fey Am7 vy Gmnaj” = + = — t Ss aS Sige ae chm? ei7 B Fm? 3 bb7 Ebmaj7 4 Two - Finger Chordal Riffs : Blues in F Bb? Hatt oe b, foe og LE F Bb7 FY 4Gu? 7 F c Solo in Octaves and Chords: Blues in F Fr? Bb? F tht abe y Pree Tate tthe oie 7 = ows eels as eo b, 4 p? b,Bb Ionian — ——— Dorian Phrygian $ o Lydian Mixolydian rs Left Hand Voicings angyre aPhrygian Lines ; SSeS = rots =e hae aMixolydian Lines the ge, te @ br Aeolian Lines Locrian Lines 4h ete i) J écr eee et 33In the style of Herbie Hancock: d cm abe, a Db e —sa Cm 3 ; otf tt Sees teat ot aged at Db be cig = pb Eb pedal 5 ft E pedal ; In the style of McCoy Tyner: Ebm Eb pedalIn the style of Chick Corea: z ft Zz "eg ee ie bo; = = . 7 A SSE Chordal Riffs in the Modal StyleDiscography (Records marked with an * are especially recommended) Charlie Parker, Kings of Juzz, vol. 1 Fats Navarro and Bud Powell Pepper Adams Pepper Adams, Donald Byrd Quintet Red Garland Quintet Red Garland Quinrer Dizzy Gillespie Dizzy, Rollins & Stitt Sonny Rollins Sonny Stitt Wynton Kelley Wynton Kelly John Coltrane *Live at Birdland +A Love Supreme Crescent ole Reliever Bahia *Giant Stops Black Pearls *Impressions Stardust Plays the Blues Chick Corea Hymn of the Seventh Galaxy Retm to Forever “Romantic Warrior Miles Davis "Four" & More In Europe “Kind of Blue *Miles Davis (2-record set) Miles Smites My Funny Valentine Bill Evans Everybody Digs Bill Evans “Explorations “Portrait in Ja “Village Vanguard Sessions Charlie Parker Bird on 52nd Street *Charlie Parker vol, 2~BeBop Charlie Parker vol, $—Le Jazz Cool Sonny Rollins *Night at the Village Vanguard McCoy Tyner "Trident Art Tatum, Discovertes KLI-20010 Warwick 2041 Jazzland 987 Verve 8477 Riverside 12-254, 12-298 Impulse A-SO Impulse A-77 Impulse A-66 Atlantic 1373 Prestige 7292 Prestige 7353 Adlantic 1311 Prestige 7316 Impulse A-42 Prestige 7268 Atlantic 1382 Polydor 5536 Polydor 1022 Columbia 34076 Columbia 9253 Columbia 8983 Columbia 8163 Prestixe 24001 Columbia 9401 Columbia 9106 Riverside 6090 Riverside 6038 Riverside 12-312 Milestone 47002 Jazz Workshop $01 Blue Note 1581 Milestone 9063 Ultraphonie 3029