Jazz Riffs for Guitar

forGuitar by YDichi Arakawa

grealill

•

Copyright © 1995 Cherry Lane Music Company International Copyright secured All 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 of copyright.

6 ••••MAJOR

RIFFS

6.... Major

7 Joe Pass-Type Triad Major 7 With Chromaticism 7.... Bebop Lick Martino And Major 7 B•••• Mock And Major 7 Scofield-Type Lydian Riff

B•.••MINOR RIFFS B••• Descending

Pentatonic Minor

9.•..E Aeolian

Emily Remler-Type Riff # 1 C Dorian io.... B Harmonic Minor Mentor's Minor Riff ll ....Jim Hall-Type Riff

t About The Author

1, ••••DOMINANT-7TH

RIFFS 11.••• G Mixolydian Lick # 1 12•••• Barney

Kessel-Type Blues Sus4 And Pentatonic 13•••• Emily Remler-Type Riff #2 Another Lydian B7 14•••• G Mixolydian Lick #2 Diminished Scale Riff 15•••• George Benson-Type Riff

16

ii7-V7-lmaj7 RIFFS

ii-V-1 Bebop Progression # 1 ii-V-I Bebop Progression #2 Altered Tensions 17.... Joe And ii-V-I Cannonball-Type Riff First Waltz lB....Catching Up With Pat

16

Acknlwledgmnls - - I would like to thank Jon Chappell and

Yoichi Arakawa, a graduate of G.I.T. and Berklee School of Music, has authored and arranged more than 20 guitar books. These

everyone ot Cherry Lane Music for

include You Too Con Play Jazz Guitar, Best of Miles Davis, Best of Count Basis, Jim Croce-The Greatest Hits, Top Hits of the Country Superstars, and A Fingerstyle Christmas. He is presently a free-lance author

and assisting me with the production of this book. Also, a million thanks go to all of the great jazz musicians who hove created, cultivated, developed, and given us some of the world's finest

and lives in New Jersey.

music.

giving me this wonderful opportunity

J8•••• ;;7b5-V7-; RIFFS 18•••• Dexter Gordon-Type Progression 19....Gigi Gryce-Type Riff Bill Evans-Type Riff Harmonic Minor Over ii-V-i #1 2o.... Another Waltz Larry Coryell-Type Riff 21 •••• Harmonic Minor Over ii-V-i #2

2 J•••• TURNAROUNDS 21 ••••Joe Diorio-Type Progression In C 22•••• Hard-Bop Turnaround Bob Berg-Type Turnaround Coltrane-Type Turnaround # 1 23••••Coltrane-Type Turnaround #2 Turnaround In C 24••••Turnaround With Diminished The Last Turnaround

25.... S0LOS 25•••• 0ne For Bird, Miles & Sonny 28••••Something Like Wes

31 •••• Tablature

Explanation

HOW

TO

USE

THIS

BOOK

Here are some suggestions to get the most out of this book: • Practice each line very slowly at first, in order to correctly program the music in your hands and your mind.

• Once you have learned a line, feel free to change it in any way you want to better suit your taste. For example, try changing the notes, rhythm, tempo, feel, positions, or articulations (such as hammer-ons, pull-offs, or slides).

• Although each riff is categorized into major, minor, or II-V-I riffs, and played against the given chords, experiment with the same riff over different chords or in different harmonic settings. By using your imagination and ears, you can create endless possibilities.

• Learn these riffs in different octaves.

• Transpose all these lines to other keys where range will allow.

• Try playing a riff from the CD/cassette using only your ear, and without referring to the book. It will improve your ear.

• Incorporate the riffs into your playing immediately.

RIFFS

M AJ 0 R I Major

71

This major riff is a simple lick derived mainly from the C major scale.

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Cmaj7

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st.

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IJoe Pass-Type Triad I This riff is in the style of the late jazz master Joe Pass and hot newcomer Mark Whitefield. It outlines an F

major triad while approaching each chord tone from above and below.

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Fmaj7

f'~

I Major 7 With Chromaticism I Chromaticism is the practice of using non-diatonic (out of the key signature) pitches and is an important characteristic of jazz, as evidenced throughout this book's examples and by many other riffs played by the jazz greats. This example is a riff where the chromatic notes help create a smooth line.

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p ~

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IBebop Lick I This riff starts with a very typical and popular bebop major lick-played by such greats as Clifford Brown, Sonny Rollins, George Benson, and Michel Petrucciani-and finishes up with chromatic notes and a short

sequence.

II

Gmaj7

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'--' P

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H

p

p

H

IMartino And Major 7 I Here is a lick in the style of one of the "monsters," guitarist Pat Martino. This line has a fluid feel and a

repeated-gesture idea, which is a Martino trademark. Strive for accuracy and a legato touch. especially at a fast tempo. Ebmaj? H

H ~

sl. ~

H

H

sl.

st.

Inspired by another "monster:' Don Mock, this line is essentially a scale sequence outlining some chord

arpeggios (e.g.: DmaF, Glm7b5, C!m7b5) and ending with a double-stop of a 6th. > st.

Dmaj7

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st.

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H

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IScofield-Type Lydian Riff I A true jazzman, John Scofield has for more than a decade immensely influenced countless guitarists and musi cians even beyond the boundaries of jazz. He often plays a Lydian line similar to this example. Notice how tht ~11, or D~, is used and emphasized.

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MINOR

RIFFS

IDescending Pentatonic Minor I This minor riff consists of the A pentatonic minor scale (A CD E G), and descends in a series of 4ths and 3rds. Am7 8va

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IE Aeolian I This example is based on the E Aeolian (E F# GAB C D) mode, which has the same notes as the G major scale. Note that the line mainly utilizes intervals of a 5th. ~ oJ

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Em7

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IEmily Remler-Type Riff #1 I The late Emily Remler was one of the most talented jazz musicians, and a true master of the instrument. Here is a short line in the style of Emily's use of the D melodic minor scale (D E F GAB C#). Dm(maj7)

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.--..-/ H

H

IC Dorian I This riff comes from the C Dorian (C D E~ F G A Sb) mode, which has the same notes as the

B, major scale.

Hemmer-ens and pull-efts help give the line a legato feel.

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IB Harmonic Minor I This example is based on the 8 harmonic minor scale (8 cl D E FI G AI). Try this line on Clm7bS and Fln9 as well.

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IMentor's Minor Riff I Here is a line played in the style of Norman Brown, one of the most incredible new stars possessing solid technique and a great heart. Years ago, he was also my private teacher. Norman was very patient, warm, and always fun to be with.

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IJim Hall-Type Riff I Jim Hall is considered to be one of the most important and influential jazz guitarists to have helped shape

and develop today's jazz guitar scene. Some of today's masters who have been influenced by him are John Scofield, Pat Metheny, John Abercrombie, and Bill Frisell. Notice how this riff incorporates such articulations as hammer-ans, pull-ofts, and slides-all important features of Hall's style.

Am7

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DOMINANT-7TH

p

RIFFS

IG Mixolydian Lick #1 I The lick is based On G Mixolydian (G ABC D E F), which has the same notes as the C major scale. I've added

some chromatic notes as well.

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st.

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IBarney Kessel-Type Blues I Here is a bluesy line typical of the super-veteran guitarist Barney Kessel, who mixes chromaticism in a bebop-

type phrase. F7 ~

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ISus4 And Pentatonic I The first three measures of this riff are based on the A pentatonic major scale (A B c# E F$). When played over a B9sus4 chord, the scale tones function as these chord tones: A=b7; B=root; (#=9; E=sus4; F#=5. Taking a given scale and juxtaposing it over a seemingly unrelated chord will produce exotic results, and is a

common jazz technique. Try playing a pentatonic major scale or a major triad a whole-step down the next time you encounter a dominant-7sus4 or dominant-11th chords.

ED

B9sus4

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IEmily Remler-Type Riff #21 Here is a line a la Emily Remler or Pat Martino, based on the E~ lydian-Dominant scale (E~ F G A Bb C Db), which has the same notes as the Bb melodic minor scale. Try this riff over A7 as well, and you will get some altered sounds typical of jazz music.

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sl.

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p

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sf.

IAnother Lydian 871 This is another example of the lydian-Dominant scale in B (B ($ D# E$ F# G~ A), which has the same notes as the F~ melodic minor scale. Here it is over F7#11. Notice the second measure uses raking (dragging the pick across the strings in one motion) on the triplet for smoother execution.

F7#1I ~

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p

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H

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- ""~ ~3~ rake----~

p .---..

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fL'

1G Mixolydian Lick #21 This is another lick based on G Mixolydian. Note the use of repeated gestures: The idea in the second half of bar 1 is restated almost verbatim in the first half of bar 2, and beginning at bar 2, beat 4, there is a four-bar series where the pitches go up one and down three.

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IDiminished Scale Riff I This line comes from the diminished scale. one of the most popular scales to use over dominant-7th chords. Notice that. because of its plurality. it can be played over G,9, Eb7,9, Gm9. or An9.

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C7b9 (Eb7b9, Gb7b9, A7b9)

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IGeorge Benson-Type Riff I This dominant riff is in the style of the guitarist's guitarist, George Benson, who injects funky, syncopated bursts into smooth, traditionally played lines. His amazing technique is nearly unparalleled, and he has had

a prominent influence on countless guitar players during the last 20 years.

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RIFFS i i 7 - V 7 - I m a i!.. . . :.-7-----"=--='--=---=---=__

Iii7-V-I Bebop Progression #11 The ii-V-I progression is probably the most important and utilized progression in jazz. This first example is one of the typical bebop lines reminiscent of the legendary vibraphonist Milt Jackson, because it mixes wide interval skips (bar 1) and chromaticism (bar 2), but is not too far "outside." Dm7

G7b9

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P

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P

P

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H

H

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Cmaj7

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1

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ii-V-I Bebop Progression #2

1

Anyone who studies and plays jazz cannot avoid encountering the father of modern jazz, Charlie Parker, and his music. He has been one of the most important and influential figures in popular music for the last five decades. Here is a line that mixes linear (step-wise) ideas with arpeggios (bars 2 and 3)--one of the countless approaches Parker might apply over ii-v-l. Gm7 ~

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rake- - - ~

P

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I

Altered Tensions

1

On this line, notice the use of the Emaj9 arpeggio against B~7, which creates some altered, or "tension" notes (notes that require a resolution, such as the ~5, ts. and #5). An altered or "alt." dominant-7th is any dominant-7th chord with a ~5, #5, ts. or ~9 added-alone or in any combination.

II

Fm9

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IJoe And ii-V-I I Here is a line a la virtuoso Joe Pass, showing a sophisticated and complex approach to weaving a 16th-notebased solo, played in double-time.

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A.

Gmaj7

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ICannonball-Type Riff I This example is in the style of another jazz giant, the alto saxophonist Julian "Cannonball" Adderley. Note the use of the A whole-tone scale (A B C# D# F G) over A7, which creates b5 and #5 tensions. Em7

A7alt p

A.

~

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Dmaj7

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3 p

st.

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H

[First Waltz I 3/4, or waltz time, is almost as important and popular a meter in jazz as 4/4. Here is a line the great French pianist Michel Petrucciani might play over ll-v-! in 3/4, featuring a healthy dose of triplets. Bbm7

Eb7b9 p

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st.

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Abmaj7 p

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ICatching Up With Pat I This u-v-r Hne is in the style of the incredible Pat Martino. This shows Pat's ability to spin seamless, bop-driven 16th notes in a fluid feel. I've included some hammer-cns and pull-ofts to catch up with Pat. but you can

either try them in different places or delete them altogether to suit your taste.

Cm9 H

A

F7alt

H ,..--,

H

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p

p

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p

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RIFFS

IDexter Gordon-Type Progression I This is an example of h-v-l progression in a minor key, in the style of the great tenor saxophonist Dexter

Gordon. The melodic shape, or contour, in bar 1 is repeated in bar 2.

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Dm7'S

p

.

G7,9

p

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Cm7

I Gigi Gryce-Type Riff I Here is a line inspired by the alto saxophonist Gigi Gryce, who was also a great composer, arranger, and bandleader. The frequent use of intervals here (largely 3rds and 4ths) will help prevent your playing from becoming too "linear."

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IBill Evans-Type Riff I It is often said that there are no pianists today who have been able to escape the influence of Bill Evans. His concept of harmony. lyricism, and his trio playing have, in fact, had a strong impact on the entire jazz world as well. Here is a line la Evans over ii-V-i in E minor that shows some unusual placement of non-chord tones. For example, the Bon beat t bar 1, is the fourth degree of F#m7b5 and clashes with the ~5 (C).

a

I Harmonic Minor Over ii-V-i #1 I The harmonic minor scale (1 2 b3 4 5 b6 7), the best common scale to use over a ii-V-i progression in minor, is the basis of this example. Notice that the octave F#'s in bars 2-3 delimit the line's range. Am7'S

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Gm(maj7)

D7,9

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p

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IAnother Waltz I Here is another li-v-l in 3/4, this time in A minor. Notice how bar 2 contains both the major 7th and minor 7th (G and G') of the key.

E7b9

Am7 •

t,

ILarry Coryell-Type Riff I Larry Coryell, who helped develop the jazz-rock fusion movement in the 70s, has been one of the most important and influential guitar players of the last two decades. A true master of the instrument. his playing is versatile, often technically complex, yet exciting and beautiful. Here is a simple line Larry might play over minor ii-V-i. Note the unusual collection of rhythms: eighth notes, eighth-note triplets, quarter-note triplets, and a quarter note tied to a triplet eighth note-all in the space of two and a half bars. This lends a lyrical quality to the line.

Em7b5

A7

-~

• 3 rake------~

Dmll

IHarmonic Minor Over ii-V-i #2 I The last example, ii-V-i in 0 minor, is based on the D harmonic minor scale (0 E F G A B] C#) with some chro-

matic notes.

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p

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TURNAROUNDS

IJoe Diorio-Type Progression In C I A I-VI-II-V progression can function as a turnaround (a short progression that leads back to the tonic chord or beginning of a section), and is one of the most-used progressions in jazz. This first turnaround in the key of C was inspired by one of the greatest guitarists and educators, Joe Diorio.

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c

A7b9

Dm9

G7b9

3 rake-----~

Cmaj7

IHard-Bop Turnaround I Trumpeter Clifford Brown was one of the hottest hard-beboppers of the '50s. Despite his short recording career, Brown's influence is still being felt almost 40 years after his premature death at age 25. Here is a line

for Clifford that features his characteristic 16th-note triplet flourishes. Note that iiim7 often substitutes for a I chord. as in this example.

E7

Bm7

....

Am9

D7

H

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H P

P

H P

09/6

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H P

-------

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IBob Berg-Type Turnaround I This example is in the style of tenor saxophonist Bob Berg, who is one of the best jazz musicians today. The line is largely diatonic, except for the chromatic alterations that accommodate the chord tones (Eb in Fl, F# in D7).

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F7

D7

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C7

Om7

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st.

IColtrane-Type Turnaround #11 The tenor saxophonist John Coltrane was one of the most innovative and influential jazz figures of the '60s, and it is difficult, if not impossible, to talk about the development of modern jazz without him. The following two examples are based on I-blll-WI-bll, one of the many progressions he made popular.

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ITurnaround In C I Here is a line in the key of C. Notice the D~maj7 arpeggio on the G7 chord. This creates the altered tensions

bs and b9. Cmaj9

A7b9

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ITurnaround With Diminished I This is a riff using the diminished scale on both dominant-7th chords, producing some tension notes. C7,9

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IThe Last Turnaround I The last example in this section is a typical turnaround outlining each chord arpeggio.

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lOne For Bird, Miles & Sonny I This solo is based on one of the most popular and frequently played chord progressions, "Rhythm Changes," culled from George Gershwin's famous song "I Got Rhythm." This example starts with one chorus of melody

a la Charlie Parker (using more traditional bebop ideas) and moves on to another chorus of improvised solo, with two of the greatest jazz giants, Miles Davis and Sonny Rollins (whose styles are more angular and harmonically progressive than Parker's), in mind.

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F7

ISomething Like Wes I Wes Montgomery was one of the finest, most creative, unique, and influential guitar players of the 20th century. Virtually all the guitarists mentioned in this book-including Pat Martino, Emily Remler, larry Coryell, John Scofield, Pat Metheny, George Benson, Norman Brown, along with many others-have been strongly influenced by him in one way or another. Montgomery's style is characterized by a warm, honest,

and hard-driving swing approach. This last piece is for Wes. d,

(J-LJ ,J\) Melody F7

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To Coda Bb9

F7

)..,

A

:J

~

FI3

A7#5

D7#9

r'L

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~

b~ ~~

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Gm7 A

~j!: ';ofO-

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C7

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F7

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F13 07#9

.

f:

11. Db7

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12.

Solo F7

0>7 st.

•

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Lg

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1':1-.-

'-3-'

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H P

~

s

F7

,.6

3

r-3~

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B,7

F7aIt

Cm7 3

B,7

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3

3

3

,I.

,I.

3

3 ,I.

F7

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3 ...,;.

,-4

3

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D7,9

Am7

,I.

Gm9 P

~

P P

P

C7alt

Gm7

H P

F7

D7

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F7

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D,C. (no repeat) al Coda F7

D7

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F7#9 .. ?"•_____ r.-.

f: 0

• TABLATURE EXPLANATION/NoTATION LEGEND • TABLATURE: A six-line staff that graphically represents the guitar fingerboard. By placing a number on the appropriate line, the string and fret of any note can be Indicated. For example:

9 '''''M'''_Hi9hEI~~~~§~

2nd string-

B

3rd string·

G

4lt1 string· D 5111 siring A 6th siring - Low E

..{t

3

5th string, are fret

2nd string, 10th fret and 3rd siring, 9th fret

an open E chord

playedtogether

_________ Oefinitions for Special Guitar Notation BEND: Strike the note and bend up 'h step (one fret).

,'"

UNISON BEND: Strike the two notes simultaneously and bend the lower note to the pitch 01 the higher.

_ SUDE: Slideup to the note indicatedfrom a fewfretsbelow.

"

Full

,n

" Full

r

BEND: Strike the note and bend up a whole step (two frets).

VIBRATO: Vibrate the note by rapidly bending and releasing the siring with a left-hand finger.

Full

112{or Full)

"

PULL-oFF: Place I:xJth fingers on

BENDAND RELEASE:Strke !he note and bend up ~ (or whole) step, then release !he bend back to !he origilal note. Allhree notes are tied; 0Iiy !he first note is struck.

HAMMER-oN: Strik.e the first (lower) note, then sound the higher note with another finger by fretting it without picking.

WIDE OR EXAGGERATED VIBRATO: Vibrate the pitch to a greater degree with a lefthand finger or the tremolo bar.

the notes to be sounded. Strike !he first (tlgher) note, then soond the lower note by ptAing the finger off the higher note while keeping the lowernote fretted.

~ 11!{orFull)

PRE-BEND: Bend the rote up ~ (or whole) step, then strike it. 112{ocFull)

I

SLIDE: Strike the first note and then with the same lefthand finger move up the string to the second note. The second note is not struck..

TRILL: Very rapidly alternate bEtoNeen thenote inck:ata:l am the smaI note shown in parentheses by harrmering onam ~Iilg off.

112{ocFull)

PRE-BEND AND RELEASE: Bend the note up y" (or whole) step, strike it and release the bend back to the original note. 112{ocFull)

~

SUDE: Same as above, except the second note is struck.

"

1f2(ocFull)

"

TAPPING: Hammer ("tap") the fret indicated with the right-hand' h::lex or rnici:lle finger am pul off to the note fretted by the left hand.

NATURALHARMONIC: With a left-hand finger, nghtly touch the string over the Iret indicated, then strike it A chime-like sound is produced.

PALM MUTE: With the right hand, partially mute the note by lightly touching the string just before the bridge.

TREMOLO PICKING: Pick the note as rapidly and continuously

as possible.

H.rm.

±

'",orr. pick

r." - - --. - - - -- - - -- --,

ARTlFICIAL HARMONIC: Fret the note normally and sound the harmonic by adding the righthand thumb edge or index finger t.p to the normal pick attack.

RHYTHM SLASHES: Strum chords in rhythm indicated. Use chord vccnqs found in the fingering ciagrams at the top of the first page of the transcription.

MUFFLED SlRWGS: Laythe left hand across the strings without clapressi)g It"em to the 1reI-board; strI<e thestrrgs v,;u, the rjjt hand, ~ a pen:::ussive sun:l.

A.H.

) ) ) H

181'a)

•

A.H.

SINGLE-NOTE RHYTHM SLASHES: The circled number above Ihe note name indicates which strir.g to play. When successive notes are played on the same string, only the fret num-

A.H. pitch' E

TREMOLO BAR: Drop the note by the number of steps indicated, then return to original pilch.

bersaregiven.

PICK SUOE: Rub the pick edge down the length of the string 10 produce a scratchy sound.

~ ~~

@Jfr

2f,

open @1r,

C

BAG

)

)>-n)

frem.oor

Definitions of Musical Symbols -Play an octave higher than written

-Repeat previous heat (used for quarter or eighth notes)

·P1ay two octaves higher than written

loco

·Play as written

pp (pianissimo)

'Very soft

P

(pillF/())

·Repeat previous measure

-So.

1I1p (mezzo-pillno)

·Moderately soft

mf (mezzo-forte)

·Moderately loud

f

-Loud

II:

:11

• Repeat measures between repeat signs

-when a repeated section has different endings, play the (forte)

ff (f()r/issimo)

'Very Loud

It

(accem)

·Accentuate note (play it louder)

(accem)

-Aecentuate Dote with great intensity

.'

-Repeat previous beat (used for sixteenth notes)

~ (stllccato)

·Play note short

first ending only the firsl time and the second ending only the second time.

D.S_ at Coda

-Go back to the sign (ll!) and play 10 the measure marked ''To Coda," then skip to the section labeled "Coda."

D.C. al Fine

·Go hack to the beginning of the song and play until the measue marked "Fine" (end).