Learn Improvisation Concepts: Repeating Riffs

Image via Wikipedia

Sometimes the best lessons are the simplest. Too much theory and too many technical terms can kill the best of intentions and enthusiasm for improvisation. Students are quickly engaged in playing chord changes by rote using the basic 12-bar blues progression:
I, I, I, I, IV, IV, I, I, V, IV, I, I

With simple repeating rhythms and melodic intervals, students flow through the basics of blues improvisation.

Example 1: Simple Blues Riffs

C7/ C, C ( 4 x's)
F7/ F, F ( 2 x's)
C7/ C, C ( 2 x's)
G7/ G, G
F7/ F, F
C7/ C, C ( 2 x's)

Roots... 1, flat 7, 1... 1, flat7 1, b3

Example 2: Blues Riff Transposed

By getting the students to sing the riffs, they can overcome their instrumental shyness and start to hear the changes. They become better oriented and don't get lost while they're mentally and aurally manipulating the root, flat third and flat 7th of three chords with a series of simple rhythms.Now they're improvising. Once that can be done smoothly, we expand the riffs to include:

First time comping
Example with Blues Riff Transposed

C7/ C,C, Bb, C,C, Eb - 4 x's (play r.h. single notes while holding C7 chord w/ l.h.)

F7/ F, F, Eb, F, F, Ab - 2 x's

C7/ C, C, Bb, C, C, Eb - 2 x's

G7/ G, G, F, G, G, Bb

F7/ F, F, Eb, F, F, Ab

C7/ C, C, Bb, C, C, Eb - 2 x's

Example 3: More Complex Blues Riffs

1, flat 7, 5, flat 7, 1... 1, 3, 5, 3... 1, 3, 5, 8, flat 7

* C7/ C, C, Bb, C
F7/ F, F, Eb, F
G7/ G, G, F, G

* C7/ C, C, Bb, C, C, Eb
F7/ F, F, Eb, F, F, Ab
G7/ G, G, F, G, G, Bb

* C7/ C, C, Bb, G, Bb, C
F7/ F, F, Eb, c, Eb, F
G7/ G, G, F, D, F, G

* C7/ C, C, E, G
F7/ F, F, A, C
G7/ G, G, B, D

* C7/ C, E, G, C, Bb
F7/ F, A, C, F, Eb
G7/ G, B, D, G, F


Teaching improv concepts and using a rhythm section are really two different tasks that need to be done simultaneously. Practice along with a play-along recording.


You might also enjoy reading Willie Myette's article on comping:

http://pianodiana.blogspot.com/2009/11/how-to-comp-chords-comping-chords-on.html

All the best,
~ LadyD






Powered by Disqus

Sounds of the '50s

Image via Wikipedia

Are you familiar with the sounds of the '50s? Have you heard the Doo-wop-Doo-wop style?
Early rock and roll piano styles are easy and fun to play. Music of th 1950s simplified the more complicated rhythms of 1940s blues and boogie-woogie, and made them more accessible.

To get you started on playing in this style, I've combined an introduction (which can be repeated as a vamp) with an 8-bar section. The chords of the intro are built on the first (I), sixth (vi), fourth (IV) and fifth (V) degrees of the C Major Scale. Many songs of the '50s such as "Silhouettes on the Shade" and "The Book of Love" use just these chords in the same I-vi-IV-V-I progression. The next section is based on an 8-bar blues and uses only three chords- I, IV, and V. "Blueberry Hill", popularized by "Fats" Domino, is an example of this type of tune.

Notice how smoothly the chords change. This is accomplished by keeping the "common tone" of C in the pinky of the right hand whenever possible. Also notice that the real "action" is in the bass line which should be brought out in your performance. In the 8-bar section, the left hand arpeggiates the chords of the right hand. After you can play it in C, work it out in other keys such as Bb, F and G major.

Bar 1: C/E G C, B/E G C, A/E A C, G/E A C (r.h. chords, C then Am)

Bar 2: F/F A C, D/F A C, E/F A C, F/F A C, G/F A C, G/F G B, A/ F G B, B/F G B (r.h. chords, F then Gsus4-7)

Bar 3: C/C E G, D/ F C, E/G C, F/ A C, E/G C, D/F C (r.h. chords C then F)

Bar 4: C C/E then play r.h. notes C then CB, CBb, GC, G#C (r.h. chords C then C7)

Bar 5: F/F A C, A/F A C, C/F A C, A/F A C, C/F A C (r.h. chord F)

Bar 6: F/F A C, A/F A C, C/F A C, A/F A C, C/F A C (r.h. chord F)

Bar 7: C/E G C, E/E G C, G/E G C, E/E G C, G/E G C (r.h. chord C)

Bar 8: C/E G C, E/E G C, G/E G C, E/E G C, G/E G C (r.h. chord C)

Bar 9: G/ F G B D, B/F G B D, D/F G B D, B/F G B D, D/F G B D (r.h. chord G7)

Bar 10: F/F A C, A/F A C, C/F A C, A/F A C, C/F A C (r.h. chord F)

Bar 11: C/E C, D/F C, E/G C, F/A C, E/G C, D/F C (r.h. chords C then F)

Bar 12: C C/E G C (r.h. chord C)

Hope you enjoy playing the doo-wop sounds of the '50s. Chord chart above played with 12/8 time signature so that you hear and feel those 12 eighth notes played in the r.h. per measure with your l.h. bass line. Feel free to add those bluesy devices to the right hand part.

All the best,
~ LadyD

Related Topics:


http://ladydpiano.blogspot.com/2008_09_01_archive.html


http://ladydpiano.blogspot.com/2008_08_01_archive.html


http://ladydpiano.blogspot.com/2008/08/esbjrn-svensson-trio.html


http://ladydpiano.blogspot.com/2007/10/jazz-101-blast-off.html

More info:
The Fifties
I VI II V7
/ / / / / / / /
[Key of C: C A- D- G7 ] / = One beat

http://web.mac.com/ashby_stokes/iWeb/Ashby%20Stokes/Instructional_files/Table%20B%20Chords.htm
Try moving this chord progression to another key. It should sound like a typical 50’s song in any key. For more common cord progressions, see:
* General Chord and Scale Study: 12 bar blues

http://www.medallions.com/ashbystokes/GeneralMusicInfo.htm



Powered by Disqus