THE CHICK COREA CLASSICS Spain / Friends / Litha / The Loop / Straight Up ‘And Down / La Fiesta Arrangements / Transcriptions / Text by Bill DobbinsSpain Friends. ita The Loop. Suraight Up And Down. La Fiesta Table of Contents 2 1s 19 27 324 Since the ely 1960 Chick Gotea has beenore ote méstinfusntal composes in jo. He ruc encompasses a wed \afety of muzica eotings, ram soo plana {elageensembles,usngtothacouste an sere metumerts, Ho is one oft few faze compecers dung the past geseration ‘whose carrpasibonshevebecore}azz sta (orca Hele a8 one ote Fe jess eee “ris is probobhy Chick's Dest. known composivon. In the version included here wothedtocaptirethe energetecancfestive mond withoutcopying he otignalrecarding teociosehy We feel thatou version gies a {tosh perspective on tis jazz ebesis with- cut chonging ary ofits essen estes Durnatne A and themes Baty or isakaysvaryigthe pacernertofhissrare sndtomiem accents Mosterummers woud (ay is bie ain fat inaroreapezine Tenor aoe tt ctoren eases $16 Em? ‘The Chick Corea Classics posorehoheswortedwihestencedions Cheomecstion im varous emat oun fo We nave selected sof Chit’ compo sins which represent 2 vanity of forms, moods and ‘ernpes. These x compos tors aso represent aierent periods of (Chek amesial development fom tree 1980's Gusight Up And Dowd tothe sis Spain manner. The sold tounseten prowced rewghout the performance by Ron's WeClue| thymic confidence end ery ives ly themaamum degree! reecon 1b respond tothe music n 2 carpietely ‘eesn and spomaneous manrer “Throughout the sob section ily ses up ‘me eegrinng of extn new chore, some ‘imes emphasizing the begining of be last sight bas se well Hs alco itoracte eros ‘aly wh the soll and plait, white 19805 (he Loop! We neve neudos the batman zane foal arangemen's ior ‘wa hams dumoet and ter sa] 08 We cecemplete aad sheet fo alinaramerss snd detid pana and bass pats. We are Froud gegert tis speci velume ofthe Yaz Workshop Sorex We sincerely hope you_ariay them never sowing this inteacton or commerr tar tomtetere wtntherelbxea yet seed) {ecling oft pulse. “oe (Lovanal begin his slo wth shor melo prasas. Sometimes, 2 nthe es cept shown below, he ends es phrases win tne seme tym, creating 2 suctls styring efi. eae The second chons bagins with an iter sting usa of antispationsandeyneopaton, Notice the chroratic emballshment of the {ithot memo choca ne veryeainnna ‘This ton of mela embeltrment ial ‘common in al ere tyes and the best “ener slr 2a chor, meseeree 1.17 Gmaj7ttt sooets know hw to use it elective Measures $8 ofthis excerpt develop 8 shyt consisting ot four eights nates fo- lowedbyeither aquarernoteand arast of toy eiorg note, Te eae tytn yard ‘age atthahighportof no next cocton of the soo, wih occurs in measure 15. Nov tie that the myttms ot the begining of rmousurgs 13 and 17 also ceateachying lect The Chick Coren Classiesmaj? Gmai yen. Saas n wpe FN oe's use ofthe aissimo gist ding lasteight measures foe's cherusare ing tones are usod in meosures 22-24. Tho the soconc eight measures ct his thre cho- _ncluged Delon. Tineerds whan embelishes ofthe 8 (us nsoied Bily’s fourbar setup, which Inmwasures 2025hecontastethsopac- ct te Gmai7 chow, The endo! ths pase late mo tala ghia pasa hs aireusiasewtncangegrharteine rest mae we of he ate ft ‘roves, This seup,intun alzodtholovelof fasing use of chicmai> notes heard at te endo he free peese ot ‘tensity inthe music and inspireda tong ism. The ¥ in messure 22 aids a blues is @xorpt maasize 12. snd.e0ar mologs satemontttom Jee. The so8rg wo the ine. Several chromate pass. aor soe chores. mesures 25 cyt Fyne Bai ans Gmai7t1t SS S= aaa Sandie Vigige cing te aso mensses cf J88 cnt wh sdigapetc nang in of pee oa ee 1 ne Ze GOMLSMSARE ancotantaee Sh Steeda cecae aren tt cn i Dar 0 SO ee ene icceamyhmeseanbelom ihe eetsn a ress 7 Tard sti wh comins te Hoh ple gana ger haeaa ie fenmese Tera helskengecent sents SMaaonen pyran ascors cone Pas is ches. "ovo Arteta tea SESUREELI ic am Ray arene so that wat ro eae ieeby eon ne a inten ne al” picedauloicdncprertTeafecive ree fe toe fl ler eel roopelee wer hte “Trumpets ft chores measures 118 Fy toreg Grnai7#™T ¢ ¥ em? a? Dai? Chick Corea cessins 5andy cecond chorus contains macy ‘ibdsgmeloicideas.Thetwoshon phases intnebocionagetinecrorususetne sirple {eam of antecedent adconsequent phase structure ueston end answer. Tho ‘an ‘tha sceand phase aniipstes the sound of the fol chord IFAT, The teason cre si0s by these shor sscending pasos teleased i he feng eighth note tie whch fellows. Inmoasu9-13 Raney uses the rmbsolian mode A7 scale with a pasting ‘Trumpotsule: 228 chores measues 122 Gmaj7e tenebermenthe oat and seventh sad 17, Sicha usecfthe comirant seta of hs romentay bey ofthe msi 2 Maz ts cop8 Is Pear frequently eran ace shes “"rarneesu's 16-16 Randy retuns to the pantaonicscaleon the Gmai cherd, ts tmein more eiborete egrth ro Ths i folowed bya ston devoionmant ot the notes “of end“ which ware heard Prominanty m measu'se 35, Nosee tat Fy oth Rady and oe ecuently used rater en to Cr ed wien wore cameron to# er which saratinas savepete the 200d ‘of F87. Using these common tones can ‘imply 3 complex progression wile leo emphasizing closdy Teifisle melodie mot, a5 in this ease. This secuon of Fancy’ solo nds witha beautll melodie ‘caseneo en ho & mn chord cael. FAO. at a a tne ssuntaminetgbonttene rom root rt rneceserbtaniicanoars erent ssocsnmeosemerners Sool nee Piano accampaniner It chore ol runpet sale easies 113 ma? reposted percussive chythms in the plano sccompariment.ondbygradualy “anets igh segs of he ancy encs his st chorss with four assures which consist mosiy of quancr ‘notes. iy develops these queer notes 9 ‘order 1 96t up the bagiming ofthe piano soo. uring the tarnpet sola the aro ee ‘cemnpeninant sometimes see Sorc frboishmoms of the basic chs. a ‘rsaching them bya hal step tern abovear below. Tho secomzeniment at wie begin hig of he trumpet solo istiates this tech ‘hc. in meaaues 7-9 the F# woueng ‘rbollchod wth voicings of 7 and FT.Benween she sasond nd ri choruses ofthe rumpet sol twotectnies whch ae speci common n sin mute 20 vead. ‘tho endl te second chor, a else ‘sere th rhythm ofthe accompaniment is Piano soeampenimene rape soe, neaere ‘end chr tes ensure of 3rd chs Bm inthe fal cher of she tumset oot ceurred to the use of chioratis harman ‘ombeliniment Sass the solo wes moving sccompaninent th chores of rumpet Cr & 4 fe-s i rs ivded between tho wohands, Tis use ot thepiano ws ekindofharnoritend uri ‘ormavery wal uted to th and ouNe: "ight eight ses. A the beginning of ‘he irl chen a syncopates mythic fa tonardahighlevelotietensng lusedthcker Vvotcngsandahaherreaisterfor te acca periment. The excerprstownbelonshoule Daj? Lusiereometd withemalvartions tough rmuchefth¢cherus. though this racmicis oftan used Is az ives as wel ts ate ‘ffctvan etn ana otha stig igh ses. Gait be cemnpared wth the sem fam thes chorus ofthe trumpet soo for ure or Featienolheuneclthndcorativetecinie i tn Predest ‘The Chek Corea Cussis 7The piano solo begins with 9 rhythmic ‘development ofe simple whole step motive {measures 1-6). Measures $-10 devalop the ttythm heard in measure 7. Bily makes inventive use of tiythoie aisplacement in _his accompaniment during this section of ‘the soo. Measures 11-14 use pentatonic scales which have more chromatic relationships 10 the chords: & pentatonic on A7 and E pen- tatonic on Dmai? tttone and lydian relation- ships, respectively). The Atriad onthe Gmnai7 ‘chord in maasure 18 also implies 2 tydien relationship. Bily develops the rhythmic isplecerment in his accompaniment nto. 3 (4 ees rhythen, which begins in measure $2 of this chorus. Notice that Bily’s commentary is atways played ara moderate dynamic level, so that thelistener's attention isnotcistracted from the solo, Iwas aware that Bily was interact- ing with my rhythmic ideas, but | never fett forced by him ta go in a direction which was uncomforable. In measures 17-19 2 soguence which is based on @ 6/¢ cross rhythm is used on the C#7 ardFB7 chords. The melody'sbesedon the A pentatonic scale (for CH7) and the D pentatonic scale tor F#7). These soaies em- phasize the auginented ith and.aisednintn ‘of the chords, but the fifth note each scale Cf and "bi, respectively) snot used, since itwouldintertere with the thitd of the chord. ‘The finak phrase of this cnovus is based on the B dorian scale with a chromatic passing one between the fourth and thitd steps. The ciear resolution on the 8 minor chord temporarily resolves the harmon tension before the next chorus. The secand enores begins with a ditfer- fant 6/4 cross rhythm which continues thru mezeure 70, The melodic figure includes an upper pedaltone (a'l whichis commana all Fiane soto > Gmai7411 l> opp lp spr ol - ope lp ge the chords in this section. In measures 4-7 the notes ‘b’ and ‘c¥" are resolved to ‘tH ) ‘and’, in oder to clearly convey the sound of the £47 chord, Inmeasures 11-16the & pentatonic scale fg used an A7 and the A pentatonic scale is used on Dmej7. The 6/8 cross thythm in measures 14-16 creates rhythmic tension which is resolvedin the long eighth note ine inmeasures 17-20. This ine is based on the diminished scales of E# (for C#7) and AW (for FWD). In measures 21-24 | used parallel sith inervalst0 colar the simple melodie state- ments, The sound of this interval seems to ficthis style very well, anditis usedby many jazz pianists in similar contexts. Billy's crack ling commentary which leads to the third ‘chonus perfectly compliments the sound of “those shat intervals. Notice that this idea Continues thru the fst wo measures oi the third chorus. Abrief eighth note tingin measures 3-4 of the third chorus leads to a longer fing in measures 58, which is based on the C pantaconic scale (the uiton of F&7]. This ine rele veer ol begins with 4 6/8 cross rhythm, but onds with continuous eighth notes. The cross shyttin may have been inspired by Bily’s 3/4 cross rhythm on the cymbals in moa sures 56. In measures 10-12 | play the AT scale With a chromatic passing tone between the rootand saventh, but continue wath the half Step/awnoie step oiminished scale (ermpha- sing the tione of A7. 6"). This chromatic tension is resovved in 2 clear outline of tne maj? chord in measures 13-14, ‘The melodic use of an FB minor tiad on the Gmaj? chordin measures 18-16 laadsto 2 chordal ending of the solo, The lest eight measures make use of scale tone triads and thitds. The main chvthrnis the rhythm of the theme, which the horns pizy in their first entrance after the piano solo. | used nthe intentionstly, in order to make & smooth transition rem the solo sectioniack to the theme. & The Chick Cores ClassicsDmaj7 Gmaj7el) cya. Fy7b9 fe z = ee RF cme SSS ee ee ea Saas — enn Fyne The Chick Corea Classics 910. The Chick Corea ClassicsNise In should be emphasized here thatalithe solesinthis recording were played, asmuch 188 possible, on 2 completely intuitive or ‘subconscious level of activity. The ear and the attention are more at work than the Conscious mind, The conscious mind can help to organize..exercises and practice routines, butitesnonly gotin the way during periomance. Notice thatthe solcists seluomuse scales ‘oF other technical material in an erbitrary or mechanical manner. They usually mate tuneful melodies, played wtn teeing and conviction. Notice aso that metosie pnrases often begin within a hait step from the noe lon which the previous phrase ended. This sometimes reso¥ves lingering dissonances, {and always gives the. solo a strong underly ing feeling of continuity, The main purpose Of practice is to intemalize the technical elements of the music, so thet they can be Used in a free and! unobstructed mar the inition and the creative subconscious, ‘The Chick Cores Classies 11Friends. Tis is one of Chick's most beavtiful melodies. It was originally recorded on the album Friends Polydor 6160). Tho unusual phrase lengths feel quite natural while play- Ing the melody, but they can be awkward whila improvising. t may be hoiptulto ty tc hear the melody in your head while impro- vising. it will also be helpful to play the metody over and aver again, tying 10 heat diferent ways of embellishing i each time. As the embellishments become more and move elaborate, they wil begin to devetst naturally Ito an improvised solo. Learning Rendy’s interpretation of the melody would Provide a good starting point for this type of work ‘Trumpet sole: 1st chorus, measures 1-16 (en c F The chythm section plays with a relaxed ‘bossa nova feeling throughout the perform ‘ance. Ron plays mostly half notes on 110 first and third beats, but he uses more deco- tation and syncopation as the perforrnance covelops. The piano often makes thythmic responses to the melody during the ong roles, Bily plays @ one-measure clave on the rim of the snare drum yer ff Of \ihichis somewherveriedtowersthe endot the theme. The clave is ceveigped with many varatone dung the sous, Randy Degins his solo with a develop iment of 8 simple twonate motive which i c Dc ‘combines diatonic and chromatic passing ‘ones with basic chord tones. The second tight measures is based on another simile motive which consists of @ pait of eightn netesanda quarter note, More arpeagios of the chords are used in this section. The pentatonic scale in measure 10 implies a Iydian sound on the F chord, and also antice ates the © chord in the next m A Similac effect is created with the B penter ‘tonic seale in measure 14, Throughout the solo the piano interacts withthe articulation of the trumpet, playing more sustained chordsia the lyrical sections and more short percussive chords when the rhythmic activ. ityof the solo invites this. BHC : T34 FIC Inthe beginning of Randy's s2cond oho- rus. he uses some colorful arpeggios which come from the melodie minor scaie. in measured themeledic maternal comes from the G melodie minor scaie. The Bmai7* ‘arpeggio combines the sound of the D triad ‘withthe reat of ne next chara). Since ine third, fifth, major seventh ang ninth of the = hnsnorchordinmazsure 7alsoirnply Armaj?-, ‘Trumpet solo: 2nd chorus, measures 3-21 b/c c ‘tho wo phrases seem tohave a sequential relationship. In measures 8 and 10 bre quarter notes create a rhyming effect, wile the ‘fin measure 9 respives to ‘g’ at the end of measure 10, The ‘c#inmeasure T2crestes tension in relation to the bass nore ‘c’, then resolves steow'se to 'b' This stepwise de- scending movement is developed through the use of 2 simple rhythmic idea in mea sures 13-16. The stepwise descent continues at the ens of measure 17. gicetthe beginning ofthis measure is devel- ‘oped further in measures 18-21. Pentatonic scales are usec in measures 12,17,18 end 20. A 12 The Chick Corea ClassicsEB FWAR A FmajZ/A oe ope Seapets = Notice that the siano accomoaniment eves into a higher register at the beg ring of Randy’s second chorus. Tis helps the sol 1 BUI, end algo gives the music some contest in color and texture. The staccato cherds imply a 3/¢ cross, wile the register gradually moves back dow tothe mode of ne keyooerd Toward the end of the chorus variations of the shythen, fog7ge ic i create 2 evar sence of mvtnmc ceveion- ‘ment in the accompaniment. the develep- ment of this tiythm leads into tho final section of Randy’s sole ‘The piano solo bagine with continuation of Randy's final rhythmic motive 2 2 I ‘The nwe-bar phrases nme sequential and are based on the C and D pentatonic scales. A more extended me lodic ine folows, which retumstothe seme shytim in measure 8. This stythen, com bined withthe interva of @ sixth, is devel ‘oped through the next six measures. The smolodyascerds steawise through measure 14, This section of the solo ends with a phrase based on the E pentatonic scale Sequential developmentis usedinmess- utes 1622, and the melodies are all based Sas ‘onpentatoni scales in measures 23-27 the melosy graduay descends, but provides contrast ty avoiding obvious chythmicrepe- ‘ion or melodic sequence. The motive in ‘measures 28 and 29's sequenced in mea ures 30 and, butts extended toa four ber phrase. This phrase ends, in measure 33, with the same hytnm which was heard ‘requentiy hing the opening section oF the solo ffoow ff After 2 gradual ascent from measure 28-34, the final five messures of the sole descend ‘with a simple chord based melody. Piano solo Cc FIC carpet) a + Sy The Chick Corea Classics 1214 The Chick Corea ClassicsAm? ¥ Throughout the sols the melody moves through the chord changes ina very smooth ‘and convincing manor. There is ofton a ‘connection between the length of the me- lodie motives and the harmonic. rhythm. ‘When the same chord lasts for two oF throo measures, acleartwo-barorthree-barahrase is often played. In areas where the chords Trumpet cadenre This composition was originally released ‘on the Chick Corea recording’ “Tones For Josn’s Bones”, and waslatar eissuedinthe double album “Inner Space” (Atiantic SD 2- 305), Another excellent version was tecorded by Stan Gow on the album "Sweet Rain” (Merve V6-8693), with Chick Corea. Ron Carter and Grady Tate. The siternation be- tween 2 6/8 latin feeling and fast 4/4 jazz ‘makes this piece both musically challenging ~ and fun to play. Notice how Billys cymbal pulse comoliments the 6/8 sections. During Mensures 7-8 A detaiied study of such crossthythms and their relationship tothe formal svucture of the theme will be extremely valuable, In addition to these crossrythms there is @ ‘gre3t dea! of interaction between the bess {and the tenor solc, especially during the 6/8 sections, Inthe last measure of the theme and the first zhree measutes of his frst solo chorus Joe develops ihe opening motive of the Om? ‘change every measure the melodic material is less sequential Notice how Billy sets up the last six-bar ‘section of the chorus (beginning Where the (C major chord returns}, In measure 30 he Bisys = Lures1 and 32he plays rm shots on the first and third bests. In measure 33, where the + SS tithe the 4/4 sections Ron builds intensity with bis driving ehyehmi bass ines, In addition 10 the written saxophone reloty, there are short improvised piano soles which adc musicainterest and unpre- ictabity to the statements of the theme, ‘The piono solos are written out in the piano ‘part which is included in this volume, but bianists are oncoureged to improvise their ‘own soos, limentionaly limited each of my short solosin the 474 sections toonly one or ‘wo motvs ideas. This helped to compi- one last phrase of the chonus begins, he returns 10 a more syncopated rhythm, The short trumpet cadenza atthe end of the sertorm- ‘ance uses the C diationic and the G pent» tonic scales in @ particutarly metagic man- ner. Notice hew Randy's precise articulstion ‘and phesing communicstes the musical idea with unmistakable claray, ment the clear motivie development in the ‘written melody of the 6/8 section. The thythm section accompaniment throughout the zheme and the tenor solo is. full of interaction ang erossrhythms. In the 4 section of the second statement of the theme, forexample, Billy piaysthe following 3B crossrhythms. These crossthythms. begining a! thenext phiase of the form, Measures 15-16 melody (two eighth notes). The solo some times relates to the 6/8 meter and some- ‘umes mpues metast 4/4 522 tempoagainst the 6/8 of the thythim section (measures 6- 11 and measures 27-30). The constant omphasis of the nove‘ helps to prepare the metric modulation 10-44 ‘4in the second part of the chorus. The solo makes effective use of pentatonic scales in measures, 11-24, 31-41 and 48-54. inter. esting use of chromatic ornamentation pro- vides contrast to these pentatonic sections. Joe is also listening to the rythm sec- tion. In measures 19:22 he develons the thythmic idea which | was using in meas- ‘ures 13-18, nrngasures 29-41 he continues the 3H crossthythi which Bily was paying in measures 31-28, The Chick Cores Classics 15‘Tener sola: st chores Tenorsola: 1. Chorus ‘Sola de tenor ere structure Am ieeciianj = BaG 7 oe a oS BAS 16 The Chick Corea ClassicsSSS = i ae 5 aT fn Am (aeolian) Ps = SS a 5 SSS ver rey at @ ae rr a a 3 © "the Chick Cores Cassis 17 "FS Es * —— ba Dmai7 4 3 en = I Breer Teg oe pe pe Sinte hereareentie phrasesofme orm developed the piano aecompanimentiroma Joe's first chorus provide a good example of. which are based on only one chord, Loften single rhythmic motive, Measures 47-54 of this epproach, iano comping during tenor solo: tst chorus, moosures 47-54 aAlon makes effective use Gf rhythmic Inthe 4/4 section ofthe sole Ron's use of repetition oF thyrming in his bess. sol. soace, cavity of develoomern and imoece Comparemessures2.4.7.9.71.15 17and Fx xR EX x # cableimonstionarewell wonhneticing. The 20. Billy compliments this rhythmic devel mF dT LL riptet naif notes in the last eight maasures opment beautfuly with subtle use of ‘of the solo make a perfect transition back to cressrhythms , for example: the slg meterst the bepianing afte 3 b ss - Dmej? Cyn? Bmaj7 Bb? Abmai7 Gn, Ema Se - ¢ te ,etene the oF = — = 18 The Chick Corea Classics‘This jazz waltz, fecorded on the album “Tio Music Live In Europe” (ECM 1310), 5 «8 great vehicle for playine in a loose and relaxed 3/4 style. The opening rubato piano ‘Gpeaig mbato piano solo Bom7/Eb The Loop solo develops the mood and personality of the piece without directly quoting the mel ody. Idi follow the harmonic progression ‘andformaf the therne, but usedoccasional Gm? c harmonic dacorstions or embelisiments. A detailed analysis of the melodic and har monic aspects of the solo would be of help in he study oF rubato solo cevsiopmient The Chick Corea Classics 16, = abe! = Ss = oe Se : SS i | J, s * — ee: [ane et Z =. a @ fa « & « % 2 & * wa Om Dmiyc Be7 Bhmmaj? * Fmaj7/A sa ulema te Binal? °7 G7 Gm C7 Bimaii7 e & 4 = & SSS Se SS SSS ase \ |e Ls | Ea == pb 7 — T Se Se 2 fe ¢ fa 2 Boy 2 fea e Frmgj2/C ce Dm oe = == C 2 ry IE $22. he e te = 20 The Chick Coree ClassicsRe * land's interpretation of the melody is Iyfical and sonsitive. The rtrthm section Jimplies the 34 meter in a loose yet clear mannet. The three rhythm section instr ments often play three different subdivie sionsof the meter simuitaneously By clearly telating tothe underlying pulse ofthe dotted Flugethorn solo: st chorus, measures 1-18 Sa o Fe half rite, however, all these rhythms flow ‘smoothly together. Tanscrption of the thythms played by the different rhythm section instruments would provide @ ood ‘beginning for the studyof this ste of hyth> section playing, Randy begins his solo with a masterful * fe ° fa. development of a simple three-note scale figure. His use of space helps the stener to follow this Cevelopmert. A sixteenth note line concludes this section of tne sola in 3 ramaiic and convincing mannet Fmaj7 Am? Gm c7 CH? Dm? Om7/e — : == * ee 5 SS SS SS Sa Bo7 Bommej? Fmaj7/A Ase? Gm? Ay 4 2 - = = == = : = PaaS ee F aa 7 ‘et Om €? Am? D7 Gm? c7 Fraj7 Om? — + ae == = ee ae oF 7 e ¥ TS a The Chick Corea Classics 21‘Throughout the performance the rhythm pian0 Textufe more trensparent and better chorus illustrates this approach, ‘of the piano comping is often broken up suited to the open hythmic style. The between the two hands. This makes the comping from measures 7.9 of Randy's first Plano comping: ist chorus of tlagaihora solo, monsures 7-9 Be7 ‘Bbmmaj7_ Fmaj7/A Ba e e ta * «the end ot hs frst chorus Randy chorus, The ideas are put togother quite df. e'ghth notes, and also ends differently. retumsto somectthe same material which ferent, however. For exarnplethe sixteenth, was heard in the opening section of the note fine from measures 75-16 is stated in Flugelhosn solo: 1st chorus, measures 41-48 2nd chorus, meesues 1-4 Bimai? Bmmai7 Am? D7? Amv D7 a a . $ : , s wire = a Ss= SS a Pee S| za e eres es Gn? 7 Fai? Am? Gm? c? op? a . ‘The piano comping from measures 44-27 jlustration of how 10 divide the mythen and of Rendy’s frst chorus orovides another hgrmaniy Piano comping: 1st chorus af fugethorn solo, measures 4447 07 Lf Ain? De Gm in meesures 17-26 of his second chorus repeated note figure with more Wrical and Rendy contrasts three simple variaionsofa flowing mevodic lines 22 The Chick Corea Classics+ Flogettorn sole: 2nd chorus, mewsares 17-25 Fmaj7~ Om? In measures 347 of this chorus Randy uses the blues scale in 2 particulary offec- ‘iemannet. The harmonic goal ofthis phrase Gm C7 Cy7 Om? aN is the Dev? chord in measure 37. Randy piays tivougi al four measures wna beau: tiful melody based on the D minor bluas Omyc Bo? = Bkmmaj?_ Fmaj7/t oo seale, The melody ends convincingly in the same measure in which the harmonic pro- ‘gression reaches its aval Fugetnor sole: 2nd chorus, messures 34-37 Fligethornsole:2. Chorus, Takt 34-47 Solo de Mugethorn: Zome structure, mesure 3 n ° 2, 7 Bo 2 Fmaj7iC_ - ; cr? 25. Omi 5 _ Se oF a re = .— > = Inthe pisna solo several simple motvic ‘dees are developed in aitferemt ways. The opening section continues the Iccal me Jodic feeling from the end of Randy's solo. Measure 6 ends with figure which empha- Sizes the intervals of @ minor third and a perfec fourth. The diminished scale pattem in measure 10 is made up of the same intervals. The ascending minor thirdis heard Piano sole, ‘prominently in measures 11, 12, 19nd 18, and retuns in measures 22 and 25, where the perfect fourth returns as well. The exact iva fiom the end of measuie 8 returns clearly in measures 27-28. It is then se ‘uencedand developed extensively inmeas- ures 29-32. Measures 33-40 retum to the Iysical mood of the opening of the solo. ‘Another unifying element throughoutthe solo isthe use of similar chromatic embek Eshmerts fas chord tones. This can be heerdinmeasures 12,13, 15, 23,25,26,38, 40, 41, 43, and 44, The solo ends with a thythmicaly displaced sequence in meas- ures 45-47 and a descending diminished scale which resolves tothe fifth ofthe tonic chord (Frrai7) The Chick Corea Cassics 2.7 Dm? DeZ/C Bo? Bhmmai; Gm C7 B7 Bbmaj? 87 ss 24 The Chick Cores ClassicsAm? Di ‘Throughout the performance Ron's bass lines ara extremely melodic. and rhythmi- cally varied, yet they always incide the Base tine: plano sole, measures 17-25 roots of the chords. This is vary important, singe the soicist should always be abie to hear the harmonic progression. The bass @ @ ling in measures 17-28 of the piano solo provides @ good example of Ron's great balance of imagination and discipline. Fmaj? Om? 2 cy Ge of « £- - FE t 2 ote Bs ——— = ya = = = = = 5 7 Dmifc Be7 ae 5 be» 2 te « fe # = ——————— Ron's bass solos & reai melodic master piece. Bassists and trombonists cften have 2 special talent for hearing melodies which use the diatonic sale of the key of the music (this case F major and D minor). As a resuk, the chromatic notgs in the har- morigaccompaniment transform the sound of mese same notes with each chromatic change in the harmony. Measures 7, 10, 12, 173, 24, 26, 30 and 34 are good examples of thiseffect. When chromaticambalishments ore used, they always resolve in a melode sally convincing manner (measures 8-9, 12- 14, 32 and 28) A.wise variety of phrase lengths is an- ther strong opint of the ty possible to predict when e phrase willbegin oF end, yet each statement is melodically convincing. Rhyshmic tepetition and rhym- ing are also used effectively, asin measures 23:26 and measures 35 and 40. The Chick Cores Classics 25Bers solo Dm7 &7 == Be? Bbmmaj7 — Fmaj7/A AMT rss. — 26 The Chick Coree ClassicsThis is one of Chick's mostinteresting up ‘tempo compositions. It was originally re- corded, with Chick playing piano, on the Blue Mitchell album “Boss Hom” (Blue Note 84257). Another interesting version is in cluded in the double album “Inner Space” {Atlantic SD 2-305). The theme is chalieng- ing to play, and the simple form for the solos invites a harmonically open or ‘outside’ ~ approach. The melody and piano accompa- iment of the main theme (following the 20- smeasure introduction) suggest many poss! bilities for decorating the basic harmonic structure of the solo section. ‘The piano solobegins witha shortphrase based on the Ab and E pentatonic scales. ‘The end of this phrase is developed in measures5.. Inmeasure the same motive is transposed up @ minor third, implying Ar minor ‘The three pentatonic motives heard in measures 2-3 and 5 are developed through cut the solo, A variation of the opening Piano sale. Straight Up And Down statement 's developed in measures 10-14, Chromaticdevelopment of the motive heard in measure 3 leads fiom measure 1510 the brigge of the first chorus. The bridge begins with a short phrase based on the D penta- tonic scale, This is followed by a rhythmic variation of the opening statement of the soo, This variations based on the F# penta tonic scale, The last eight measures of the firstenorus consist of long eighth note line \which begins in F minor, moves ‘outside’ 10 @ minor in measurs 28:30, then resolves bback tothe tonic note (f)in measure 31. The sudden leap down to the note ‘a’ keeps the sound of the music ‘open’, so that the sola wants to continue into the next chorus. Bil picks up the end ofthis phrase and plays afl Which leads 402 etrong eyonbat = beginning of the second chorus. AA simple two-bar motive is developed from measures 1-8 of the second chorus. The note ‘g creates tension, which is temporarily resolved in measure 10, The F minor scale fragments then ansposed up inal stoos and whole stops, a if com Dine with @ 5/8 ehrossinythm. The har toni and thei tension resahves inthe first measure of the bridge. A pentatonic mote from the opening ofthe solo returns inmeasures 5601 the bridge This motive is oveloped ehromatcally in measures 25- 27 inmensure 28 ofthis chorus a fragment cf the Fs pentatonic scale resolves to along ‘gies note ine nasegon the B pentatonic seale. Tis org descencing ine continues up tothe fst moasue ofthe next chorus. were the tenr solo begins. The use cf cheomatiism, pentatonie scales vticharshermoricoly outsideof the basic chord progression, and tho use of ossinyten ef help 10 bud tension and ‘ve drection tothe piano solo. These hyth- me, melodie and harmonic tensions are always esohed, however, in musicaly eorvincng manner The Chick Corea Ciassios 2:4 + —!* os as tS Zot a be. 8 f = + f= | 4 : = : = = SS aS Om * e ¥ = 5 3 28 The Chick Cores Ciessicshi ah ah Hise Emz/A, CHIL AE te yamaha be dn de ep. i i z & SSS — o begs tf =i 3 + - 7 es fo ee ibe Bae Se z ——— oe t . | . ¢ 5 ‘5 te 4 ah Ps Es ‘The Chick Corea Classics 29ie ie ‘th 7 = ‘a = so Ron’sabiltv io break upthe rhythm of hie test. Silly manages to play time and com- _firstchorusisagoodexemple of this “broken bass lines during the bridge of each chorus ment on Ron's bass thythms simultane tm" approach, is very eHlactve in exoating musical can- ously. The bass fing from the bridge of my ‘Bass Tine: piano solo tot chores, measures 17- 2 Emv/A CemTrrt Joe's use of chromatic embefishments {ieates effective contrast with his penta- ‘onic melodies. In measures 9-10 of his first ‘chorus he embelshes the eleventh, ninth Tenor sal: fst chorus, measures 918 Em? and toot of the Frn7 chord. In measures 13- 16 ho uses chromatic embellishments and chromatic passing tones te decarate basic chord tones and scale fragments. Measures Tenorsola: 1, Chorus, Tait 919, 11-72 and 17-19 rely moro on unembel- lished diatonic and pentatonic scales. Solo de tenor: tere structure, mesure 9-19 Em7/A Joe contrasts these long lines of eighth notes and triplets wrth sections which are “Tenor sole: 2nd chorus, measures 1-8 Fm? = 3 f based on shorter melodic fragments anc reresting shythmic dovolopment. The wo eee ge ge He 20 The Chick Corea Classics weg ‘beginning of his second chonus is a good Geample of this contrasting meter‘measure 18 draws further attention to the high nate (g). The long descending A penta- tonic scale leads to the sixth of the C#m chord (at), which resolves the tension and completes the musical ides. Tha meladic high point at the beginning cf the bridge of his second chorusisparticu- ‘arty effective, The 3/8 crossrbythm in Tenor solo: 2ad chorus, measures 15:21 Fm? ae Ema 3 Comey the second chorus of their solos. Some of the voiungs wich | used are shownbelow. They may betranspesed.chro- matically in order to ceate harmonic tere The pianoaccompaniment curing the first chorus of Joe's arid Randy's soles is very ‘sparse, | Inentionaly used thicker voicings and a more active accompaniment during son, and combined with crosschythms in ‘order to creace rhythmic tension. Pino voicings rom accompaniment of tenor and trumpet soles Fmd Em7/A Centre Em7/A Center Stee pote sah = s | i | Ligh 2 | eat —__ tg Fm? a — "e = ie = == oe or or oF 8 bee IE = ee = : = = 7 _Bpndsscle shows anexceptionalsense os 4a"? = = aia F Joe uses rhythmic repetition and chyme ing effectively roughout his solo. The open- ing eight moasures include several melodic fragments which all begin on the second bezt. The eighth noteline in measures 10-14 reso sola: measures 1-25 E7) F ‘The high point in Joe's solo is prepared ‘offectively by the triplet ine in measures 51- 52, which is followed by a long space. This ‘space makes the entrance on the high ‘a° begins on the ‘and’ of the first beat, The shorter eighth note line which follows in ‘measures 16-18 begins in exactly the same art of the measure. Chromatic passing tones are used etactively in measures 20- G F et) more dramatic, Notice thet this ine alse begins on the second beat, ike many of the phrases in the opening of the solo. The thytimin measures 57, 59 and 63 creates 8 25, Both Randy and Joe often use the G mixclydion oF G pentatonic scales for both the F and G chords. This works well, sino the G scales create a lydian sound on the F ‘chord. £17) 4 ‘hyming effect which concludes the soo in ‘a clear and convincing manner. The Chick Corea Classics 35Tonor solo: messures 48-64 cea oe G F F e(7) In flamenco guitar playing the guitarists ‘often alow a particular open string to sound ‘throughout an entire series of chords. These “pedal note’ effects are often quite colortul ‘Use of melodie pedal point in piano comping eM and dating in their use of dissonance. Gil Evans has used this technic in some of his Pieces which have @ spanish influence. | ‘often used pedal notes in the highest voice ‘Anwendung von Orgelpunitin der Kiavibe- sleituog of the chords in my comping, although they don't result in extreme dissonance in this particular piece, Two examples of this tech- nie ae ilustrated below. Emploi d'une note pédale méledique dans Faccompagnement de piano F SG £7) F G gt \$ . —- (sti g 2 $f _|2 _| ‘Once again, allthe rhythm sectioninstru- ments make oxtensive use of crossihythmns and spontaneous interaction throughout the perfotmance. A detailed study of these zech- nies, including the transcnption of the rhythms used by the individual instruments, ‘ill provide further insight inzo the creative development of this musical vocabulary. ‘The mote you bsten to the detaiis in the rhythm section accompaniment and inter action, the more vou will aooreciate the special talents which Ron and Billy have developed. These intuitive skills are the most important for the aspiring improviser. It is ‘onty through the development af such skills that the music can have clear senso of development and coherence, yet remain fresh and unpredictable, THE CHICK COREA CLASSICS * includes highest quality listening / play-along compact dis¢ or cassette featuring. Randy Brecker - trumpet / Joe Lovano - tenor saxophone Bill Dobbins - piano / Ron McClure - Bass / Billy Hart - drumsTHE CHICK COREA CLASSICS Spain / Friends / Litha / The Loop / Straight Up ‘And Down / La Fiesta Arrangements / Transcriptions / Text by Bill Dobbins10 u Spain Friends titha The Loop Straiaht Up And Down La FiestaChick Corea Latin (straight 8th’s) — SS colrh. (2 Bes ower) a7 Dmaj? Gmaj? Cy7alt. Fy7+) Badd | colch @avesiowe) |ep “ 2. c A ” [e619 a7sus Bsus |G6/9 A7sus~ Gmaj7 —~ — eee DE. al coda fa ye Em? A? Dmaj? Gmaj?_—Cy7alt. Farle) Baddd SS SS SS rs e = = PS Ihre — ig ei, N12 Sa =e rs ——— © t | <1 cole @sveslower | CaSG6/9A7sus Solos: 11 choruses Gmaj7tt & FY7°9 ' FLIPS FFF ° k Em7 AT ieee LPP LLL A LALA LLP AA Omaj? Gmaj7#nt cyvat. Hee EL ADS Af LDF P= o Fx%9 Bm7 Bo ! TA ALP PS LDL ZIP A Gmaj? DS afDC al code 3S “ ces CidFriends Chick Corea Cmaj7 Fmaj7/C Cmaj7 Dadd9/C Bimaj7/C Defy : — aS fa et eta 2 Ba e Sea Fm 6/9/C Cmmaj? FrajJ/C Cmaj7 a + fa e fa e & * Dags¥/C Emaj9/B Amaj7#1/B Emaj9/B FAS/ONAG SQ & eo Re e fe * y ® Dads/A — Frmaj7411/a, Bbmaj7/A Abmaj7#11 fa @ fa e Me fa Rae Fmaj2 Dee FmBC * @® = Tf *¢ Be e ff EA ass roe, Weloow ben ls 1 MghSRG rnc, Omuncian Omerech ABR eon thes Garang von MELOOE BA UELET MORE Dicks Fewhiahain 6ceo FmaiZ/C C69 Dade9/C Bhmaj7/C Fm6/C ceo A one)Litha Chick Corea Latin (staight 81h's) Omi? Cym7 Bmai7 Bim? Amal? Gm? Fmaj7#q Dmaj7¢T! ee eeThe Loop Chick Corea fare walz 5% Frai? Am? Gm? C7 ce anon Ey @ | ® hedsin Om7 Dm7/c B07, Bbmmai? FmajZ/A Ase? Gm? Ay Dmiadd9) E719 Am? D7 Gm? C7 Fmaj? Dm? Gm? c7 cp? Dm? Dm7ic Bo7 Bbmmaj7 Fmaj7/A Abe? Gm? 0Avalt fedd9) 7 7 C7 B7alt oes s om “Th Emaj7/C Bw. ‘Bhmaj7 Bomiig Am? 07 (4H) Ab? D7 Gm7 c7 Solos: 3 choruses, then D.S. afcoda Abm7 Db7 Gm7 C79 Frmaj7 esStraight Up And Down Chick Corea theo A7+ apl3o9 G19 Gh13ss iB A > 1 A 4 ie phate +. Es9 DAS —-DL}ICHS — Em Bim? Gomnai7e A Ae ~ ——~ ° Fsus a (AT AMT)» G13K9. GHISbO FT E79 E749 A al I! ae pe Sp ws SRRRRU TE an Desert Sic urd rect lose Genta er MELODE DER WIE tel XG Mast Fak fePin 2Gina 7h Fsus. ral Em7/A, Gimai? Fm? Gbmaj? Fm7 Bbm7 Ghai 7411 Fsus Solos: play 8 times (trade 8's with drums last 2 times) =. Em? Em7/B Cym7Fy Fm? after solos - D.C. al fine (play over the last chord)La Fiesta Chick Corea Latin (straight 8th’) oi, SRT EE TES cute, t Onscnane Ore, sowes na ca. ‘Ach vt ot ts Garton ree MELCOE DER VALET Moka Re Moskva FakhtnEe rd : 6 F E if ‘ ° i Amaj7 Dmaj7/A Amaj7 Dmaj7/a Amaj? Dmaj7/A __ + as = = = Amaj7 Dmaj7/A pire) Ama? Ca? DmajZ/A Ope? Amai7/e Ep? Fym7 B87 En A Omaj7 _ Cym7 Fy B7— > Solos: 24 times (6 choruses of 32 bars) After solos, D.S. al code (7) F G F E(7) (lay af repeats) 2 Pray 6 times tors) 7 z Dma7/a_——_||mai7/a © ama? Dmai7/A——Amal?