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Piano lesson chick corea - keyboard workshop(2)


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Piano lesson chick corea - keyboard workshop(2)

  1. 1. ‘E5’ ‘ ‘T'i? .“? .‘1'F‘? f‘. ?“5‘¥¥. rm" -"Q , - , - Q o «'2 ' _. i 3‘ or" ' ~. ;: ~ . ,., e, _ . . . —.. ~n'a_. m.. ,.; «.-
  2. 2. _"" I Improvisation. and Practice ? Afoooklet to accompany the video ' Written by CHICK COREA with musical t_ranscript_ions by Bob Quaranta Additional text and analyses by John Novella, author of “The Contemporary Keyboardlst. " ited by Glenn Ma_ngel a_nd Emily A. Frankewlcz notes by Janet VahHam . ©l987 Dcl Musievideo Produchotis, lnc. '. . my COPYING an REPRODUCYIONOF THIS soairlsrls‘ 7 " A ViO‘i. ATiOts OF COFYRIGHUAWS. I For a tree catalog at Del Music Video products‘ write} DCl_MUS| C VlDi‘: O,lNl1 V . . - 581 Ave otthe Airiericds ' New Yor‘lrNY IOOTI (212) 924-6624 Bcich, “GoldbergVan'ation #1" . ... . ... ... . ... ... ... ... . 3 “Chl1dren‘sSong #16" . ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. . . 5 . ... ... ... ... ... ... ... ... ... ... ... . . . 7 l¢r; vYe| law Nimbus" . ... ... ... ... ... ... ... ... ... ... ... ... ... .. 7 for Playing Music in a Group _; .. ... ... ... ... ... ... ... ... .. got -Closing“-. ... .. .. . ... ... .. ; . ... ... ... ... ... ... ... ... ... .. ;. -.. ¢2 - ~ - ' me '~ rerczeeui Practice . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. . . ‘l0 . "I7ECH. 'IQUE, HARMONY & IMPROVISATION: _; '_‘1enl)rummers". ... _.. . . ... ... ... ... ... ... ... .. . ... ... .. y __ A . . . . . .'. . . . . . . . . . . . . . . . . . . . . , . . . '_: __“Nlcod. lndi_go". .. ' ‘ i Blues, .. ... .. _ CQl: lPOSIT10": — = * 11 18' . .. .» 25. : :-. ~"iL¢ng»: FcH"- . ... . . . . ... .. 477.}: -; : __ . Cheap. bu_tG00dAdvic — . Vllin: PREFACE? What follows is study material for use in conjunction with ‘. ‘Keyboard. WorkshopC'a video which Chick made for DCI: it is I _ _. _rprimarilywrittenbyChick. ~wilhsomehannonicandlyses ~ . W0r. F V tion which will be understood by musicianstatevery level at i by Jonn’Ncvello which should be e>clreri'ie'ly heiptriijio the ’ " advanced player. The videoand booklet have mucninlorrna- ' experienw. If there are aspects that are beyond your grasp at this point, you are sure to understand more as you develop as a player. A suggestion for finding your place on the tape when you wish to go back to a particular section: set your VCR counter to zero when you begin viewing the video. As you get to each section make a note in the booklet as to the corresponding number on the counter. Then when you want to review a par- ticular spct, finding it will be easy. ' » in the video, Chick is showncomposing and arranging a song . entitled “Long Fall” (pan otwhlch is reprinted in this booklet, ‘ . in Chick's own hanclwriting). _lt may be at interesttc note that ' . he did not prepare this nine in advance at the taping—what is " -"seen on the video is Chick's actual writing process. ‘ ‘ —The Producers. PHILOSOPHY OF STUDY Gradient: ’a gradual approach to something, taken step by step, level by level, each step or level being, at itself, easily surmountabyleeso that finality, quite complicated and difficult activi- . ties can be achieved with relative ease; intending to do something and doing it, .or in- tending nottc do something and not doing it. learning to give oneself “wins" by using and taking on the= correct gradient is important. If the gradient is too steep, losses and failure result; if too easy, boredom - andna advancement. So- ‘ ‘ -l_) DEClDE WHAT YOU WANT TO DO. . _ _2) ACHIEVE lT, by selecting andusing the -e ’ correct'gr g _ the win and feeling of success. ‘ Forthe use at definitions cl "Gradient" and “Win. ” 9f. °’t€'U' °C““°W‘ y ’ ledgement is made to the L Ron Hubbard Library for permission to use the copyrighted works "at L. Ron Hubbard. Copyright ©1972 adie, nt—-the one that will produce - Into»-«.2 -«rumor ~’-‘---rar-r—> .44». .- . .
  3. 3. J. S. Bach——Goldberg Variation #1 Bach n: s Deena general musical inspiration in many oi‘ his work and the ease with which he composed. ' ways—the clarity of his interweaving melodies, his Bach produced a / or of great music, especially Z * " ability to composelijike an improviser, the abundance _ a _keyboard. music. ' “ ' "
  4. 4. Chick Corea Copyright ©1979 Thalian Music All Rights Reserved NG’ #16 CHILDREN’S so
  5. 5. imagine the flow of motion you want to create, be it - i body movement or the playing at a musical phrase. 5‘ Stan the now oi‘ rnotioni slowly at tirst, and notice all the "giitches"—just notice them—don‘t do anything about them. V . FLOW’ Art and music can communicate something with beauty and grace. As physical manifestations, the things that sad up to whatmany agree to be ' beautiful" —Controi _ , —Intention~demonstrated and done with ease . euninierrupjed motion with intention . . . _.N‘? “lav; R are: VJ4.D‘- 7‘~': .': ,A'.1 ‘ —, — - g ‘motion smooths out. i ‘W . , . limo Ir’- L . I6 , li. Qz1': n: '1'n“IrP2’HAi: F% +LsIAA anfyshs Uh‘? ! B : i!: §:'Jw
  6. 6. _ A Note: Chick only plays R ; ‘ bracketed section on video. ''"'F7“-‘—'‘‘ '‘1*‘‘’*‘ 4 ”—“‘ '2 “‘~“* ~w -. -~ T . .. P I’ i l | PRACTICE I lfind that it I'm practicing a piece and I'm having 7 there's this little glitch, and then five seconds later ‘ ulty in a particular part and the difficulty keeps g ' ' you're having a problem. Well, it's not that section that Evening, very often it will be that there's a part just ‘ _ ' ‘ you have to worry about-—tt‘s the little glitch earlier that " prior to that where l never got a fingering together, or , threw your attention off. So the flows gone and you some little glitch nappens—You know, you go along and stan to stumble over nere. So you have to find out - where those points are. ‘
  7. 7. TEN DRUMMERS This technique is a matter of considering the ten fingers at the hands to be individual . _ , musicions, .and. the, -‘88; keys of the pianoto I ‘ _ . be 88ydru'ms. .. it . T V - ’ I ’ -. - _ ‘ F""__‘ . -. R_lfl_ ' 3 y 11 > Five: 81 Four: I -15'“: ‘ I A . y , i 3 2 - ‘ l , . 'n! t'rr. vr11i-rm "fr. a
  8. 8. Ten Drummers com "TEN DRUMMERS: TWO-HANDED SCALE DRILLS by John Novella Although this technique appears quite" easy as ' T ' . into two areas for practicing purposes: _ ’ demonstrated, it takes a lot of coordination to do well. “l) Scales and Arpeggios, to acquire good linear . T in‘ order fort-he scale to sound as one phrase played movement. Although there are many possibilities, ' here are three-that will help get you started. They - V with one hand, there can be no audible “glitches" as ’ _ _ the scale changes hands. it is therefore very helpful to should of course be done tour octaves in all twelve V t ~ , do some preparatory drills, which can be divided up . keyst — - -A . L 1 Drill #1-Whole Tone Scale I»; « A -play two octaves fiist, then extend to four octaves
  9. 9. Drill #2—Maior Scale —play all major scales 2) Patterns-The following drills will prove helpful there are many possibilities, but these will make as a transition into two-handed scales. Again, for a good start. i Drill #4 ‘ D
  10. 10. EASY TO LOVE when l learn a standard tune, I like to sit down "with the lead sheet and just find a way of’ interpreting it that feels comforlablelo me. its a process of making the melodies and the harmonies my own. '
  11. 11. EASY To LOVE ~ E T ~ ~ f'CoIePon‘er» inc. owner of publication and allied rights throughout the world. Copyright @ i936 Chappell 8. Co. Inc. " ' ' ' ' " " ' Chappeiis Company 19 Copyright Renswed. Assigned to John F. Wharton. International Copyrigh‘. Secured. ALL RIGHTS RESERVED Trustee of the Coke Poner Musical & Literary Property Trusts. Primed in the U. S.A. Used By Permission. I as-. ".r-. = - . ,., ..—. ',, ..4 ,4 ‘W7
  12. 12. Easy To Loire cont. (. .m9 Bins _r:7u1.13i 27 r‘?
  13. 13. . WT". j7Vf . ... .. .5. . ;-_'. .. ,. ,_ . . Chicks approach to this tune was_the “solo piano" approoch; ,meaning= that the arrangement is made to sound complete on the piano without any other insIru~ » entsinyolved. Had he been thinkingrot, for instance, a . trio, the voicings usedyvould have been a tittle different. Chicks use of: tull'-spread voicings, along ‘with available tensions and a few tasty chord substitutions, have add- ed a nice touch. In generolfthough, he has stayed “in bounds" and has not reharmonized the tune at all- someihing to bear in mind, as too much rehormoniza- tion can destroy the whole mood of the composition! The exceptions to the traditional changes occur in the form of a few substitutions, and they are as follows: In I ETASYZTO LOVE: A HARMONIC ANALYSIS by John Novello ‘ bar 5, he uses a device called "parallel structures, “ in which he simply harmonizes the existing melody note (Ft? ) with the some voicing used on the previous G : melody. Tnisis 6 very popular device, which results _ here in a B69 chard. in bar 8, Chick's ear doesn't like the lead sheet changeraf F7, and s_o. he changes it to a dominant 7th chard a fifth away from the following chord, Dmin 7. This results in ariA7 chord, and is analyzed as a V7 of ll-7 (A7 to D—7). The traditional chord, H, is very weak, but it works nevertheless. The A7 Chick uses works better, as it is a stranger bass motion. Eb7 would also have worked quite well, as the . next—strongest bass motion besides the interval at a fifth is a half—step (ED7 to D-7). For example: 3:? . 7 '59 In bar 77, Chick simply changes the chord quality from a stock C maj 7 to C maj 7 #5, which he is fond of doing, ,as it creates aninner voice movement to the following A min 7 chord (Bill Evans was also noted for his unique inner voice movement). The purpose of inner voice movement" at this type is to bring motion to an otherwise stagnant chord progression. In bar 76, as he mentions in the video, Chick alters the B melody to a Bb in order to create the passing melody of B—Bb-A. Chick chose this one and since any dominant 7 chord can be preceded by its relative ll-7 chord (l'~7 to BD7), the two-chord substitution of l’ Bb7 for E6 works quite nicely. In bar27, Chick uses the ill chord E7 in place of the l chord C maj. As he says on the tape, going_directly to - the B creates a surprise, as one narmollywants to hear the standard resolution to the C maj 7 chord. This , device lS calledfaeceptive resolutions- With regard to Chick's voicings: as do most jazz This acts as a strong melodic and harmonic turnaround back to the main theme. The resultant new chord then A becomes A7bl3, in order to accommodate the altered melody. Altering the melody like this, especially in this ’ style, is done all the time and is a great way of-giving new life to an arrangement. In bar26, Chick uses a twochord substitution for the sheet music chordof F min 6. The logic here is that Fmin 6 is exactly the . . same as a B179 chord, exceptforthe: different roots; _ keyboardists in a solo piano situation, Chick loves to voice his chord structures in spreads (chord structures spanning over an octave, which include the root of the left hand) and to use many tensions (9's, ii's, and 13's). ; _This style creates a rich, full, moving sound. In an ensemble, the general rule of thumb is to leave out the root and camp with four-way close voicings (voiclrigs having a span of less than an octave, which are nor- mallyusedtorcomping). I A _ ' 'A. ,b13 . '
  14. 14. MOOD INDIGO “ Duke's music and Monk's music have a similarity that inspires me to kind of "cross-fertilize" them. I think Monk was influenced a lot by Duke. They're two of my favorite composers and I find it easy to know their original intentions when I play their compositions.
  15. 15. MOOD INDIGO Duke's music and Monk's music have a similarity that inspires me to kind of "cross-fertilize" them. I think Monk was influenced 0 lot by Duke. They're two of my favorite composers and I find it easy to know their original intentions when i play their compositions.
  16. 16. Duke Ellington, Albany Bigard, lrving, Mills 193i by MILLS Music inc. All "alums ReseNed. ‘Intemational Copyright Secured. Made in USA. Copyright Renewed 1959. » Used By Permission. Copyright . :73’- f—I Z2"—I. jfl'
  17. 17. ‘? six Qiifififif indigent: " J»
  18. 18. .-, __, V. v D one it? ’--Ewe ' I? ’ ’«"~t“ee. ‘ . . re’ r. *'«* or‘ ‘rm iii’ ; u E 4., ‘ . « em 53 2.« . . D 26 )8 M
  19. 19. B9 T r——? .3 ——-* abcaddomosrd _.3i Mood indigo cont. __ 3 «.0
  20. 20. ~%3“iV B57 7 ",3 ’, n B9" 3 ‘_ . b(add9no3rd Mood Indigo cont. '-
  21. 21. MOOAHD INDIGO— e _ ~ . RENDERING A MELODY EX ‘- . ‘§le_lody—P! :y the rhytvhrn or the melody totally straight, i-Jith nejcontrasting rhythms. ' Ex 2 Drums—Slow, swing beat. Ex 3: Keep imagining that slow, swing beat and then play the melody. , / >A > , _,~La, y , r1 9 j; —-; i.I. ~. mg __q u “A 7‘ it _ 1 . jit- 3- 3 ~3 . Ex‘4: Keeping that basic rhythm, embellish the melody by adding other rhythms. . . Do this with other tunes. First, play the rhythm of the‘ that rhythm you're imagining. Add other rhythms, keep—' melody straight. Then imagine what a drummer might - ing that basic rhythm in your imagination. play underneath it. Then play the melody again with 35
  22. 22. BLU‘ES—iLASTiCHORUS The blues are woven into the culture in such a way that it would be difficult not to know the blues and be alive. Even the wailing and ‘ to relate to the blues. it's the basic cry of humanity dealing with its bare survival. Anyone who gives some vent to this feeling willvbe playing the blues in his own way.
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  24. 24. . ,1 THE BLUES: AN ANALYSIS * by John Novello _ To any musicisr the blues means a fairly fixed set of there a'e many variations at the blues, Chick uses a harmonic changes; over the years, these changes have relatively standard i2—bar jazz blues in the key of F. _ been harmonized as needed and wanted. Although Note the following analysis of his last chorus: "f 1A; Stand 5 Jazz glues‘ Form. : 1'. ' '. . ixf S F? Bar * T w—< we . .-I l -E It-7 y: i I 9 1‘? r‘‘°7 07 C7 F I-'7/ BI) 1307 CT ‘ . ._ * I 6 = pm: chord in tam inversion (3rd in the bass) 5 . - _= .- i - - - - - - i - i - . ' I Z I“ l: I i I ' : h‘ ‘I’ _‘ l I r . i 3 I’ ‘ J ~ ' I ‘ . ‘ . _ r '« r . ‘ x 4 ‘ ‘ _“- » . " N: ‘ A can B. ick's Variation
  25. 25. l)‘ Harmonic Analysis in bar l, C. “‘*k has added a B7 as a passing approach chord c h-. .-step soove the B57 : r:~rd in bar 2 49 does this again as a transition to bar A. in bar 6. he again uses same approach chords to the D7 chard in , bar'7 ~G-7_ta 6%‘ dE. 'n‘7 isa c'arnmon way to connect W ' I in root pesitionwith F7 in first inversion (third in the — boss). This creates good bass motion and sets up the . ihterva_l' of atitth abovethe next chord, rD7. which is_ot COILIJTSG excellent bass motion (bass motion F-G-G#-A- D). Chick then uses a D_b7, a common substitution for the ll chord (G min 7). Going to the Db7 instead of the standard G min 7 serves two functions: first, the domi- nant 7 sounds more bluesy, and second, we again get a strong bass motion at D7-D07-C7 (note: the interval at a fifth above or a half—step above the intended target chord is considered to be excellent bass motion). The last two bars of any blues is considered a turnaround, back to the top at the tune. Since this is Chick's last time through, he simply ends the tune after the turn- around liaain, he does sor‘.1e"1'ng fresh and colorful by enaingvon a sus type dominant 7 structure lTiS’r8OC1 of a typical straight. dorninanf7 chord. 2) Voicings ’ 1 _ Another thing Chick does that makes his interpretation otthe oiues unique is his strong use of tensions. in I bars 7, 3; and 4,-the #11 (B natural) an the F7 chord - adds a bit at Monk! Same with the'flat 9 on the B07 chord in bars 5 & 6. Chick refers to this note (again 8 natural) as simply a "weird" note. interestingly enough, this is a very important note to the blues sound in this key. - 3) Blues Sound The “blues sound" is composed of two elements- A) The blues scale: Root, b3, 4, #4, 5, b7, root. _ which means a progression of chords that leads us Ex. 2: Standard Blues Scale mm I73 J‘ ' ' 4 5 I7 ' root is you can see, the #4 is an integral part at the blues I sound CJ| 'lGCl’llCk takes advantage at it not only ln'l'llS chord voicings, but also melodically in his entire mprovisation (see bars 8, 9, and TO). 8) Blues tones: crushed, usually non—diatonic notes that approach scale tones, but most often are chord tones (see example below). Not only does Chick use this sound in his blues solo (especially bars 8 and 9), it IS an integral part of all his melodic playing, 3: Crushed Blues Notes—-F Blues . . . , ii‘ _. J’ ; _ V, Shiclcadds-even more-color to this blues sound ‘ ’"°U-Shine. use rofclusrers. which are chord voicings zgredominantly made up of minor and major seconds see barsvi, -3, 4', 5, and 6). Rhythmically, he adds a’ ‘rice departure from the norm by his use at swinging accented sextuplets. This really brings this chorus to tie and adds the final touch and energy to the ending. ‘ , _ Chick actually applies'ttis'two-ihanded scale-playing. concept to chords (see bars 3,4, and 6 especially). " As Chickpoints outta the end, he likes expressive L music, and the 12-bar blues is just such a vehicle. --Anything goes! Just keep the basic l2-bar form and basic chord pattern and add a touch of honest emo- tion and you're off!
  26. 26. LONG FALL L i - ~ Tommy 8. plays this particular rhythm great (the Bolpn groove for this piece. The 8 section was added as a from Brazil); sotconceiveo‘ ofthat kinda? general ‘little relief to the basic vamp ‘T- ‘ r , .. -<. .'. ‘.£. ‘;. '?. ::-: ra= 'y~. ~,. m». .'—-~ —. -- .
  27. 27. ‘LONG FALL”: FORM AND HARMONIC ANALYSIS“ by John Novello 7 1) FORM The form of this composition is analyzed as simply A-B, - section A being i2 bars while section B is 4 bars, making this a simple i6~bar tune. 2) HARMONIC ANALYSIS The'A section is modal, meaning the melody and har- . Tior_i_y_is based on a certain mode or scale, while the B“ L -. section derives from an ascending bass line which ‘noduIates‘. to‘G major (bar'i5); andthen chromat_ical, ly, ij, JSGBUUS b. ajc_k1tci" horne. b.ase. 'a B, -minorfcolar. There are - ~ ’ 3 variety of minorvmades. -ln this case. although Chick ' . isesjthe chord symbols Gf'B'min+5 ‘and A min+5, the oicings h;‘es. in section A could be more accurately tescribed as coming from the aeolian modes of B minor ind Aminor. (See Ext) ’ Regarding the B section harmony, Chick just uses his ear and harmonizes the ascending bass line he created with. different-color chord qualities, and then composes a melody drawn from the implied scales of these chords. . ‘ e . T Here are thefvarious scales which could be used as a basis for-improvisation. Note that in performing this wcampo_sition, — Chick and the band take manyrhythrnic, _ harmoriic, and melodic libertiesalike playing notes out- —sid_e__the‘_basic__scale, adding chromatic passing chords, ‘ V and 'stretching thebasic rhyjttjtm at times—which is typicalof this kind-of Latin fusion style: Overall, though, A Chick sticks very closely to the basic modes and harmony. (See Ex. 2)
  28. 28. 52'" M c a M Bm + 5 B aeolian Am * 5 A aeolian BI-n + 5 B aeolian Ex2
  29. 29. Um? D dorian Em? E phr_gian : nlclcs application or the various scales used ln“Long Fall" by John Novella with the exception at the C natural in bar 4 (which is simply an approach note to the root 8 from a halt-step above), and the D natural in bar 16 (which also is an approach note to the llth, Eb, from a halt-step below), all melody notes are from the indicated modes. Even V the scale that Chick suggests using is actually just notes derived from the B aeolian. The pattern that he suggests, though, adds a nice dimension to the ‘ straights aeolian and gives him a basis for the typegot improvising and melodic construction‘ being done. The notes in the pattern are all from the B aeolian made- it's just the shape or intervals at the scale pattern which set the overall concept that Chick does so well!
  30. 30. -‘km-5 .3: A___ 3:. L- __. j - ____ . . st“ 3 Brass . . . .. .;. .., ,__, -,, ..
  31. 31. as . 5,, “ M» c E” 3"‘ a 1}‘ W», an all isfcflslsis sexy:
  32. 32. VLONG FA'LL"’ REHFARSAL WITH TRIO E ‘. A. salon Rhythm = :i: -rem , Bm‘5. l Pimp
  33. 33. i: .:. Play only what you hear. ‘ . . 2. it you don't hear ‘anything, don’t play 3,. Dent let your fingers andlimbs justswand-ei—. place . Make yo CHEAP BUT GOOD ADVICE’ FOR PLAYING MUSIC INA GROUP; anything. them intentionally . Don't improvise on endlessly—play something with intention, develop it or not, but then end oft, take a - break. _ _ I Leave space—create space-intentionally create places where you don't play. ur sound blend. Listen to your sound and adjust it to the ‘rest of the band and the room. . it you play more than one instru"ment at a time- like a drum ‘kit or multiple keyboards—m_ake sure they are balanced with one another. . . . Don't make_any af_your music mechanically orjust through patterns of habit. Create each sound, phrase, and piece with choice—deliberately. C 9. Guide your choice of what to play by what you like—not by what someone else will think. lemon’ (D [II Use contrast and pounce high-low fast-slow _ - loud-soft - tenserelaxed dense’-sparse ii. ’ Play to makethe other musicians sound good. Play things that will makethe overall’mu_sic sound A good. 12. Play with a relaxed body. Always release whatever tensionyou create. _ 13. Create space—begin, develop and and phrases with intention. 14. Never beat or pound your instrument—p| ay it easily and gracefully. . 15. Create space—then place something in it. 16. Use mimicry sparsely-mostly create phrases that contrast with and develop the phrases of the other players. . Music which, in one way or another, helps people get along better in life is the best kind of music. With my music, i like to share the joy of making music: the" spirit at playing. i like music to keep us tuned to our basic tree- dom to create. A musician, music, can add a soothing, sparkling, and joyful influence to the normal stresses and 'strains’ot’eve‘ryday living in this world. ’ In the “‘Keyboaid‘Warkshop, ” I've attempted to share a few bits of musical technique and study methods that are a part of my music—making. I hope you find them useful in your own music-making, and encourage you to continue to spread the good effects. Thanks to: Glenn Mangel, Rob Wallis, Paul Siegel, John . Pal1tucci, Tom Brechtlein, Ron Moss, Sally Hesse, Evelyn _. _Brechtlein, _:John: Novello, and -Charlie Giordano, for their help. _ and good work in rn‘aki‘ng'this video. ’ ' ' '- - ‘ " And a special thanks to L. Ron Hubbard, whose work in the . fields ot. Art and Study have been tremendously helpful tome “OS 0 l't1USlCl0l'l. —Chick Corea. >62