Jazz Riffs for Piano

Featuring: ended Lines & Solos • Modal Riffs Dillllillllisl1ted, entatonic & Altered Dominant Licks Block Chord Styles LftlDrtt Substitution & Advanced Voi,- · -

torPiano by frank feldman

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Copyright © 1996 Cherry Lane Music Company lnternational Copyright Secured Ali Rights Reserved The music, text, design and graphics in this publication are protected by copyright law. Any duplication or transmission, by any means, electronic, mechanical, photocopying, recording or otherwise, is an infringement oi copyright.

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For a comprehensive /isüng oi Cherry Lane Music's songbooks. sheet music. instnuc tional materiais, videos and more, check out our enüre caralog on lhe Internet. Our home page address is: http://www.cherrylane.com

ut lhe Author Frank Feldman graduated magna cum laude, with honors in music, from Brown University, and went on to study classical piano at the graduate level at the New England Conservatory of Music. He is the composer of over 200 songs and instrumental compositions in a variety of genres, and the author of Creating Coherent Jazz Melody-A Sourcebook For lmprovisers. Frank has been a freelance pianist and private classical and jazz piano instructor since 1979, and has performed at hundreds of venues throughout the country, including Carnegie Hall. He is the president and founding member of The New York Jazz Piano lnstitute, based in Lynbrook, New York.

Ackn li
ida ce, a d s p

a -..,e .to ks a Cherry Lane Music for their e ce of his piano teach ing; !lona Ross d like to express my profoundest :s:: :::- :::eepest usical tradition. Their inspira 'o e countless hours of pleasure.

CONT 7 .... Riffs ln The Style

Of

The Late Swing Era

15 .... 0rnamented ii-V-1 Riff 15 ....Melodie Analogy

7 .... Tenths & Arabesques

16 .... Trademark Block Chords

7 ....Teddy Wilson-Style Arpeggios

16 .... Rising Arpeggios 17 .... Faux Block Chords 17.... Anticipated Arpegg ios

s.... Riffs ln The Style Of The Bebop Era

18 .... Dorian Riffs

8 .... Passing Harmonies #1 8 .... Passing Harmonies #2 9 ....Tritone Substitution 9 .... Chromatic Weaving

19.•.• Riffs ln The Styles

The '60s And BeYí 19 .... Herbie Hancock-Style i·-,-

1O.... ii-V-i ln Minor

19 .... Herbie's Melodie Mi o..

l O.... Bebop Double-Time Riff

20 .... Herbie's Hallmarks

11 .... Unresolved ii-V

21 .... Chick Corea-Style Lya· .... - - -

11 .... ii-V Tritone Substitution

21 .... Side-Slipping Riff

12 ....Thelonious Monk-Style Riff #1

22 .... Chick-Style Dorian Riff •

12 ....Thelonious Monk-Style Riff #2

22 .... Chick-Style Dorian Ri

:1:·=·~

23 .... Chick-Style ii-V-1 13•••• Riffs

23 .... Diminished Scale Pa e Descending ln 3rds

13 .... The Two-Fisted Style Of George Shearing

24 .... Pentatonic Constr e r:~ The Diminished Scale

ln The Styles Of The Post-Bop Era

13 .. ..The Block Chord Style Of Erroll Gar er 14 ....The Block Chord Style Of Red G ,. -~ T ·

les

24 .... Keith Jarrett- S le Cade za-like as ae ,..

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1

il NTR O D U CT 1O N

P 1 ANO ex amples found in this ::, ... a~e co posed in the styles of ~ :;-ea j azz pianists. Attempting e· a ievements into tidy litboxes is an inadequate s~ e ·cial approach-the lines ::O."' ect their work are not simply _·cal. As you come to appree ork of more and more of l..iS·c's great est figures, the sub:. e p.:-::is of influence, from one artist e , will become clear.

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e Late Swing Era And The Style Of Teddy Wilson " lson' s approach to the _ ::-=e ed vastly from that of his =-::J:::i aries . He exploited the --==es th at the new electronic _-=::::i1r1 e offered him: playing ines full of precisely articint ri cate arabesques . hi s left hand often ::_-ed a stride action, it had - == - e brutish accents charac= ot the period. At times, he ,..... _ --=-~ s in the left hand with no ·n register. Though his har-- .:: oalette was not large, his dis- = -ed e lega nce presaged later, s..;btle developments in the art :- :=r piano.

--=es

--=

e Role Of The Piano uring The Bebop Era _ ~oer-extensions of the chord, such ,,_- · ths, #1 1ths, and 13ths, as well ~ a ered notes, such as the b5 and f dom inant seventh chords, .:;egan to appear in small combo - -s·c of the late swing era. The ~ st began to take over the duties .::.:: - e pianist's left hand. Tem po s t;egan to increase. Pianists of t he era :-~ e to incorporate th e virtuosic -"ovations of the great alto saxo::: onist Cha rlie Parker into their

Bud Powell epitomized the highest aesthetic achievement of the bebop era. Passionate and imaginative, he exhibited a profound influence on the pianists who followed him. Thelonious Monk was the most original pianistic voice of the era . While others strove to adapt the virtuoso lines of the period's great horn players for the piano, Monk played sparse, angular solos, full of silence, surprise, and references to the tune's melody. His musical language was abstract and dissonant, yet full of wit, verve, and droll humor. The bebopfers' repertoire consisted primarily o improvisatory-sounding, ornate, deftly syncopated melodies based on the chord progressions of popular songs of the day, such as "I Got Rhythm," and, of course, the perennial 12-bar blues. The musicians considered their music an art form, intended for attentive , informed listening.

The Varied Piano Stylings Of The Post-Bop Era George Shearing, always a gentle and elegant player, favored the cool, laid-back West Coast sound during the post-bop era of the 'SOs. He was "modernized" by listening to Bud Powell and other disciples of the new music. Shearing enjoyed great comm e rcial success adapting Milt Buckner's style of locked hands playing to medium tempo ballads. ln this style of b lock c hord playing, the melody is played by the thumb of the left hand and doubled one octave higher in the pinky of the right hand, leaving the lower numbered fingers and thumb of the right hand free to play chord tones. Erroll Garner was an entirely selftaught, brilliantly playful maverick of the piano. Much of his musical lang u age was characteristic of the bebop era, though his strummed, guitar-l ike left-hand chord s-wi th their four-to-the-bar feel-harkened back to the swing era . ln his right hand, he often played block chords

, ro an-::: " .::.:: ::::-- -g e ords. Garner e eat in an immep a}e d i ate ly r ecog ni zable and deft l y swinging way. Red Garland subscribed to the harder swinging and funkier notions of East Coast post-bop piano p laying. He worked with the M iles Davis unit from 1955 through 1958. His single-note li nes combined the innovations of the beboppers with the new, more bluesy aesthetic of the hard bop school. Red , in h is unique style of block chord p laying, struck the left-hand chord (often a four-note, rootless ninth chord) simu ltaneously with eac h melody note in the right hand. The right hand consisted of the melody note in the pinky, doubled at the , octave by the thumb, plus the note a fifth (or diminished fifth, depending on the tonal context) above the thumb's note. The resulting series o f slightly "off" parallel fifths was the hallmark of Garland's block chord style. Bill Evans brought new depths of harmonic and melodie richness to jazz piano playing . Although his b iggest early influence was Bud Powell, Evans' temperament was more sensitive, subtle, and introverted. He was a ruthless self-critic with a rigorously analytical mind . Bi l l employed the rich resources of the European classics in his playing to an extent previously unknown in jazz. His trios displayed remarkable contrapuntal interplay between bass , drums, and piano. A deep inner honesty and integrity imbued the beauty and lyricism of his playing. No other pianist since Bud Powell has had a greater influence on his contemporaries and on those who followed him than Bill Evans. Evans contributed greatly to Kin d Of Blue, Miles Davis's groundbreaking album of 1959. lts fresh moda l conception dispensed with frequent cho rd changes, and encou raged the soloist to flights of melodie sponta neity, unhampered by the need to acc ommodate rap idly chan ging harmonies. The impact of that album, and of Bill's contribution to it, was tremendous.

The Jazz Piano Styles Of The '60s And Beyond During the 1960s a confusing variety of styles, schools, and individuais, along with some grim economic realities, created an identity crisis in jazz which has not abated to this day. Hence, we'll focus on three of the strongest, most influential players of the period: Herbie Hancock, Chick Corea, and Keith Jarrett. Herbie Hancock inherited a wonderfully funky, laid-back approach from Wynton Kelly, his predecessor in the Miles Davis group. Herbie integrated the sensual harmonic language of the French impressionists into his jazz playing in a very personal way. His work as soloist and accompanist in Miles Davis's great quintet of the 1960s was particularly outstanding. McCoy T yner, who greatly influenced Chick Corea, adapted for the piano many of the pentatonic and modal innovations of the tenor saxophonist John Coltrane. Tyner played for long stretches in the Dorian mode, favoring percussive, drone-like Sths in the bass, left-hand voicings in 4ths, and virtuosic cascades of pentatonic digital patterns in the right hand. Corea took elements of this style and adapted them to suit his own crisp, clean, incisive musical temperament . A trained classical pianist, he also used many of the techniques of twentieth-century "serious" music in his improvisations. Keith Jarrett is a law unto himself. He relies more upon the inspiration of the moment than upon predetermined formulae or patterns. Notes are often secondary to the romantic, effusive sweep of his playing. Whether improvising on a 32-bar song form or develop i n g thematic material on a far broader canvas, Jarrett has made the piano sing a new song, ranging from the deeply reflective to the breathlessly ecstatic. He is an archromantic who will daringly and recklessly abandon himself to the moment, as well as a virtuoso who seamlessly incorporates sophisticated, intellectual, European classical techniques into his playing. ln Keith Jarrett, improvisatory playing at times attains an emotional depth it has pe rhaps not had sin ce the time of Chopin and Liszt.

ea ily e courag e you to ;a

e

e materiais in th is book and

riff wou ld be effective and find a tune that has severa! instances of that

•ory, a just, and recompose them to

progression. lf you can, "compose" a

s i your need s, goals, and musical

solo over the chord changes of a tune,

as e. Combine the riffs in novel

then transpose the solo to severa! keys.

ways-perhaps one of the bebop riffs rnight work well in the block chord style

Don't hesitate to focus your studies on

o f George Shearing. ln any case,

the players and periods that interest you

tran spose whatever you' re worki ng

most. Love is always the best motivation.

on into a number of keys (a very effec-

Encyclopedic knowledge is not the goal.

tive form of ear-training, by the

You may, ironically, find that immersing

way), and use it at every opportunity in

yourself in the style of a particular player

you r improvising. Also, learn to think

or period opens your ears to other play-

a out harmony using Roman numerais.

ers and periods that previously held no

T ey are the most effective way to

allure for you.

grasp

the

underlying

grammar

and architecture of phrases and

Finally, don't over-rely on the notation!

son gs, and they make transposition

Jazz is a music of infinite rhythmic sup-

easy. (lf you aren't Familiar with Roman

pleness and subtlety. No one learns to

numeral analysis, consult a good har-

speak a language without hearing it

mony textbook.)

often. lf you make listening to jazz and attending jazz events an integral part of

An even more gratifying way to prac-

your life, your progress will be far

tice new riffs is to "plug" them into a

more natural, enjoyable and rapid.

section of a song form . ldentify the sort of harmonic progressions in which the

Good luck!

(CD tracks of the examples are indicated in the black boxes)

Tenths & Arabesques

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Teddy Wilson-Style Arpeggios The sweeping arpeggios that abound in this example and the Bb9#5 chord are t ypical Wilson's style. F9

Bº7

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Eº 7

Bb9/F

Bb9#5

Eb6/9

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e rog ession iim7-#iiº7- I (Dm7-D#º7-C in the key of C major) was one of many venerable swin ra -tions preserved by the beboppers. C6

assing Harmonies #2 - serve how the right hand continues to outline the chord of Bb6 even though the left hand introduces assing harmonies (Cm7 & C#º7).

Cm7 C# º 7 Bb 6/D

Fl3b9

Bb 6

Tritone Substitution The substitution of a dominant 7th chord a semitone above the tonic, for the one a fifth tonic, is one of bebop's most famous musical innovations. Here Bb7 is followed by the s chord, E7, which then resolves to the tonic Eb. This device, known as the tritone substituri named because the substitute chord (E7) lies a tritone away from the V (Bb). (Note: The t has the sound of an altered V without the root; for example, the notes of the E7 chord (E G:: the bS, b7, b9 and 3 rd of the Bb7 chord.) Bb7

Fm7

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Ebmaj7

E7

Chromatic Weaving Observe the chromatic line that weaves through the ii chord in this example: C (bar 1 bea _ 3), to Bb (bar 2, beatl ). The Bb then resolves to the A of the F7 chord. Also note the b9th and -;;n in the F7 chord- common in the bebop vocabulary. .~

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ii-V-i ln Minor Notice the right hand's superimposition of an Ab minar chord o 'er the G7 chord (shown with arro\\'S The notes-Ab, B(Cb), and E!?- are, respectively, the b9, 3 and 13 of the underlying harmony.

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Bebop Double-Time Riff Virtuosic double-time playing was a bebop specialty. This example is also full of chromatic passing tones and neighbor tones, typical of the period. Study them carefully! Fmaj7

Bbm7 Am7

C7# 11

Fmaj7 -e-

Unresolved ii-V The second bar of this example contains an unresolved ii- V in the Neapolitan (bll)-a device used by Miles Davis ("Half elson.~ Four;' etc.). The arrows show a hidden step-wise line filling interval between the F in bar 1 and the Bb in bar 5. Bbmaj7

C#m7

Cm7

F#7

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F7b5

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ii-V Tritone Substitution ln bar 2, Bm7 precedes the tritone sub, E7 (Bm7 and E7 are the ii and V in A); if you e.a::

the V, why not bring the ii along for the ride! Fm7

Bm7

E7

Ebmaj7 j~

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Thelonious Monk-Style Riff #1 The dissonant semitones beneath the melody note F, the dramatic use of register, the voicing in 4 of the F6/9 chord, and the humorous use of the whole-tone scale in bar 3, establish a Thelonio Monk- like sound in this example.

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Thelonious Monk-Style Riff #2 Though other pianists might have chosen these substitute dominant chords, the lean, angular voicings and sharp, jabbing dissonances are typical of Monk. Bbmaj7 #9 j\

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E POST-BOP ERA

RIFFS IN THE STY E

The Two-Fisted Style of George Shearing This example is in the style of George Shearing. Diminished 7ths occur frequently in t his s rootless 7b9 chords, and as supporting neighbor and passing chords.

m

Cm6

G7b9

Cm6

Bb6

F7b9

G7b9

F7b9

3

The Block Chord Style of Erroll Garner Erroll Garner's dense orchestral style is demonstrated here. When the right hand s a.:2, beat 2), the thumb almost always plays two notes a step apart (most typically, e of the chord).

m

Cm6

D7alt.

G7b5

Cm6

D~

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C7b9

Gb9#1 I

Fm6

D7b9

G7alt. Bm6 Cm6

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..

The Block Chord Style of Red Garland The block chord style of Red Garland was unique and ~~.~ Ebm9-Ab9 (ii9-V9 in Db major), and C#m9- F#9 (ii9-V9 in B Miles Davis's mid-'50s ensemble.

e. ote the two unresolved II-V's: a· r -typical of the harmonic style of

1

Fl3 b9

F#9 Cm9

Bb6/9

Shifting Triplets One of the hallmarks of Bill Evans' swinging style is his varied placement of eighth-note triplets. ln this example, eighth-note triplets occur on beat 2(bar1), beat 3 (bar 2), and beat 1 (bar 3). (Riffs 16 through 23 are all based on the style of Bill Evans.) Cm7

F7alt.

Bb 6/9

Ornamented ·i-V- Riff Check out the series of descending thirds in the melody-Ab-F- 0-Bb (shown with arrows,--,,~._ which is preceded by a cambiata-a combined lower neighbor/upper neighbor figure. Bb 13b9

Eb619

Melodie Analogy Notice the melodie analogy between Eb- D-Db (bar 2) and G-Gb-F (bars 3-4). It is approach the b9 of V7b9 with the note a whole step above it. This note (here, the E.chord) is usually called the #9 of the chord, even though it is simply an upper neighb Gm7

C13

C7~13

F6/9

--·~ --­

Trademark Block Chords Play the following close-position voicing of Dm7: AC D F. Drop the D down an octave and you will have the first chord of this example. One of Bill Evans' pianistic trademarks was the block chord treatment of seventh chords in this fashion. C0 7

Dm7

G7alt.

C6/9

Rising Arpeggios Observe how the arpeggiation of Ebmaj9 in the first bar generates a succession of rising arpeggio each a third higher than the one before it.

Eb6/9

Bb7bl3

Eb6/9

Bb 13# 11

Eb6/9

Faux Block Chords Examine the characteristic use of quarter-note triplets here, as well as faux block chords, in whi left hand's chords are struck simultaneously with almost every note in the right hand. The and Dbmaj7 chords (bVImaj7 and bllmaj7) appear where one would have expected G7 (V7).

Dmll

A7alt.

C6/9

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Abmaj7

L__3___J

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C6/9

Db6/9

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Anticipated Arpeggios ln bars 1-4, a progressively ascending six-note motive outlines the chords Cm9, Ebm9Cma·Abm9. Beginning in bar 3, the motive appears earlier and earlier in relation to ea measure, intensifying rhythmic interest. Dm7b5

Ab 13#11

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Dorian Riffs This example is in G Dorian (G A Bb C D E F), the mode based on the second degree of the f rr: scale (hence using the sarne key signature). The modal style was seldom "pure:' and often con -references to bebop and the blues. For example, check out the F# lower neighbor tones in bars : the bluesy Db's in bars 4 and 8, and the chrornatic neighbor and passing tones in bar 7. Gm9

Am7/G

Gm9

Am7/G

Gm9

Am7/G

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::::::=::::

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Gm9

D7#9/G

RIFFS IN THE STYLES OF THE '60S AND BEYOND Herbie Hancock-Style ii-V-1 This example demonstrates one of Herbie Hancock's favorite left-hand voicings of the 13 cho use of iº7 in bar 3 as a neighbor chord of Imaj7 is another common Herbie device. (Note thaL ~ in these examples often includes added major 7ths and 9ths, and other notes from the cfu~•-w~··.,...,.,,~.., scale.) Bb 0 7

C13#1 I

Bb 6/9

Herbie's Melodie Minor Modes Herbie is fond of the melodie minor modes. ln this example, F melodie minor is ;e~ - - - .n.:=--'1 Dm II b5, establishing the hip D Locrian ~2 modality (O E F G Ab Bb C), and the G a.:. with the G altered dominant scale (G Ab Bb Cb Db Eb F), the seventh mode of Dm l lbS

G7alt.

b Cº 7

Cm6

Herbie's Hallmarks Many different harmonic devices we've studied are found in this example, including tritone unresolved ii-V's in distant keys and melodie minor constructions. Study the subtle variations in bluesy inflections of bars 1 and 3, as well as the funky treatment of the 1 chord in bar 7. 013

Ab9

G9

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Chick Corea-Style Lydian Ri The superimposition of the F pentatonic scale (F G A C O) over the prevailing Eb major chord- a Corea trademark-gives this example a bright, Lydian flavor (because of the A~-the #4 of ....... chord). Note the drone-like fifths in the bass, and the predilection for 4ths and 2nds in the lerr

Side-Slipping Riff Check out the detour to Gb pentatonic in bars 2 and 4 (side slipping, shifting yo lick up or down a half step, can be very dramatic and effective). Again, obsen "e as well as the left-hand voicings in the 4ths. F6/9

''"tlfllt

F6/9

Chick-Style Dorian Riff #1 ln high-speed virtuosic playing, Chick often plays repetitive, easy-to-play digital patterns like th __ in the first two bars of this modal example. Note the contrary motion between the hands.

Chick-Style Dorian Riff #2 The brief detour to Db pentatonic in bar 6 provides additional tonal interest. ln the last bar one finds the famous "So What" voicings, first heard on Miles Davis's Kind of Blue and played by count less pianists on innumerable occasions since then. Dm7

loco

Db6/9

8va----- -- ---- -- ------- ------- ------- -- ----------- ---- ---- -- ---- ------ ---,

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-

~

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1

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k•

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1

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Chick-Style ii-VThis example shows a Chie 'pentatonics implies extend right hand plays notes from A7 chord. ln bar 5 we find E V'-1.•l.aL.v•...

o.- -

e ü- V-I progression; his use of carefully sel plied harmonies are in parentheses.) In bar ~ . - h function as the 175, 1713, 177 and #9 over the · e irnplied 06/9, establishing a Lydian flavor.

m

(A7alt.)

Diminished Scale Pattern, Descending in 3rds

m

Like Herbie, Chick often treats the I chord initially as a diminished-seventh before fin it. The five-note diminished scale pattern (shown in brackets) is sequenced in desce thirds; there is an analogous descent of the left hand's very typical voicing as welL Bb 0 7

J'

Bb6/9

-

Pentatonic Constructs From The Diminished Scale Observe the contrary motion (in successive minor 3 rds) between the hands in bars 2- 3. Examine pentatonic formulations (shown in brackets) within this ascent: Ab pentatonic, B pentatonic. pentatonic and Ab pentatonic, one octave higher than its original appearance in bar 2. 1

j

.. ...•

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D l3alt.

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.

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Keith Jarrett-Style Cadenza-Like Passage There is much in the note selection of this example that might very well have been played by a bebopper, which I leave for the reader to discover. Do note the Ab major triad in the right hand at the very end of bar 2, a mild example of polytonality- a technique whichJarrett is fond of- as well as the concluding maj7#5 chord-delicious and poignant, and often heard in his playing.

D7

D7sus4

G

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Summary Solo This extended solo, based on the chords frorn Charlie Parker's "Confirmation;· uses many of the and techniques we've been listening to and discussing. Bars 1-8 use materiais from the be ,. . examples; bars 9-16 are in the style of Bill Evans; bars 17-24 are derived from the discussion of Her := Hancock's style; and bars 25-32 allude to the exarnples in Chick Corea's style (with a final, sl , from Thelonious Monk in the last 2 bars). See if you can identify them all, and be sure to think exactly how and why they are effective at that particular mornent! r

F6

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Bb 13# 11

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D13

Db 13

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(A13b9)

(D6/9)

(D13b9)

(B6/9)

G9#ll

(Bb6/9)

F#7b5

F7#Llbl3

1

3---i

Writing this book has been a gratifying opportunity to reacquaint myself with the music of the grea:: artists represented in its pages. I hope it has been a worthwhile journey for you as well!

Cherry Lane

Music !!:::=

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Featuring: Extended Lines & Solos • Modal Riffs s ed, Pentatonic & Altered Dominant Licks • Block Chord Styl es Chord Substitution & Advanced Voicings Great Riffs Series captures, transcribes and presents the hottest

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