"100" ULTIMATE BLUES RIFFS by ANDREW D. GORDON A Comprehensive Guide to some of the best Blues Riffs for Keyboard Players featuring Blues, Rock, Rhythm & Blues, Boogie Woogie & Gospel Styles Creative Concepts AD.G. Productions Publishing Corp. All rights 2290 Eastman Ave. No part of this publication ‘Suite 110, may be repr y Ventura, CA. 95005 form without the written phone (805) 559 - 2999 Permission holder. Printed in the USA.UNITED STATES AIR FORCE Yi SVAINVRL: FLA620_ 390 W Heattle Ave. Suite 101 FAIRCHTLD ARB WA 99011-9401 ABOUT THIS PRODUCT Bie 1:2 2000 ‘Thank you for buying this book and I hope you receive a great deal of value from it. The object of this product is to show in a practical way how to play the various techniques, both from a rhythmic and soloing standpoint, that make up the Blues. The 100 phrases cover a multitude of musical ideas and by learning each of these phrases and applying them you will build up large vocabulary. Blues songs are made up of repetitive melodic phrases and rhythmic patterns that are strung together and is just like learning a language whereby you first learn words which are then joined together to form a phrase and which in turn form a sentence et. This book is ideal for all levels of musician, from the beginner student who is interested in understanding and playing the Blues to more advanced players that need new ideas to stimulate their creativity, This book is also very useful for improving your sight reading skills with examples in many different keys and with many different rhythms. The Blues is the basis of mast contemporary music whether it is Pop, Jazz, Rhythm & Blues, Gospel ete. and so I have divided the book into various sections: Blues phrases (or “riffs” as they are often called) 1 - 33 are basic Blues riffs that are slow to medium tempos. Blues riffs 34 - 67 are zenerally a little faster and have more of a Rhythm & Blues influence to them. Blues riffs 68 - 78 are up tempo Blues phrases with strong repetitive bass lines giving a Boogie Woogie feel to them. Blues riffs 79 - 93 are Rock influenced Blues patterns while Blues riffs 94 - 100 are very much in the Gospel tradition. ‘At the back of the book I have composed a couple of Blues songs using only the riffs in this book encouraging you to pick your favorite riffs from this book and do likewise. Also I hope that you will be able to use these riffs as a basis to create your own phrases. I would love to hear any of the songs you compose so please send a tape and I will more than happy to listen and respond. My other books "Outstanding Blues & Jazz Compositions” Beginner - Intermediate and Intermediate - ‘Advanced levels have various compositions using many of the stylistic approaches in this book. ‘The audio cassente or CD that comes with the book has all the 100 riffs recorded with the piano left hand part on the left channel and the piano right hand part on the right channel. This enables the keyboardist to isolate each of the left and right hand parts when listening on their sterco system that has a balance control. When you turn the balance control to the left, only the left hand part will sound enabling you to practice the right hand in conjunction with the cassette and vice versa with the right hand part. There is a drum pattern recorded along with the piano parts with a four beat click intro to help the individual keep time. Also, for the people who want to improve their ear training skills you may want to listen to the individual parts and then try to duplicate what is played on the tape. I personally find T am able to memorize music quicker when I pick music out by ear than from musical notation. Obviously the book can be used to locate the notes that you are not able to find by listening. ‘A special thanks goes to Dr. De of Sound Productions where the CD & cassette were recorded, ‘There are two important aspects to know about when playing Blues songs and they are the 12 bar blues progression and the blues scale.ee The 12 bar blues chord progression is 12 measures in length and ance the end of the twelfth measure is reached the progression stants again. ‘Measures 1 - 12 12 Bar Blues Progression in the key of C 1 2 3 4 S$ 6 7 se 10 u 12 aadaiaioF F co Cc Gi FI CT G7 1 I I 1 Iv Vv 1 I v Iv I AZ ‘As can be seen from the above example of the chord progression, the first four measures consist of the C7 chord which is then followed by two measures of F7. The F7 is then followed by two measures of C7 leading to one measure each of G7, F7 and C7 before finishing with the G7 chord ‘The G7 chord is the last chord of this progression leading perfectly back to measure one, C7. To put this idea into universal terms we can identify each note of the scale as a Roman Numeral ‘Therefore since we are playing in the key of "C* the C7 chord would he “T*, the F7 chord would be "IV" (Fis four notes up from C) and G7 would be "V". This formula enables us to immediately transpose this and any other chord progression into other keys. This is very important in studying the harmony of a piece of music. Make sure you thoroughly understand and memorize this basic chord progresion as there are literally thousands of songs with it, in all keys. There are variations ‘on the blues progression but this example is probably the most common. “The blues scale is a scale used frequently as the 3rd., 5th. and the 7th. of the major scale is flattened by half a step giving that "Bluesy” sound. Analyze the examples in the book to find phrases that utilize the blues scale. The blues scale combined with the major scale will generate an infinite amount of phrases commonly used in all these styles of music. Blues Scale In The Key OF G The Blues scale in the key of G consists of the following notes in the scale: T= bill - IV.- bv - V - BVI - Vil Ibm IV bv V bv Vil G Bo oC Db D F G PRACTICE THIS SCALE IN ALL. KEYS ‘When playing in a certain key, the blues scale for that key is used throughout the whole 12 bar progression even though the chords are chunging. For example if you are playing a 12 bar blues progression in the key of G then the blues scale of G is used while playing the I chord (G7), the IV chord (C7) and V chord (D7). Uy ERS ‘This program comes with an optional MIDI file disk and loads into your sequencing program by selecting " LOAD MIDI FILE’, please refer to your manual for further instructions. Load in the composition that you want to practice. Track 1 will be the piano right hand MIDI ch. 1, track 2 will be the piano left hand MIDI ch. 1 and track 3 will be the drum pattern MIDI ch. 10. A standard General MIDI drum machine was used for the drum notes. APPLICATIONS FOR THIS PROGRAM * Mute one track and play the muted track live while the sequencer is playing the other parts. * Control the tempo to your skill level. As your skill level increases then increase the tempo. Transpose the key. Practice the riffs in keys other than what is written by transposing the key of the sequencer. Ear training exercises. Listen to one track at a time at a slow tempo and try to pick out the notes by ear, refering to the notes in the book only when in doubt. * Loop a difficult part so that you can practice it repeatedly to get it right. ‘The MIDI file disks are formatted for Atari, IBM, Macintosh and Amiga computers as well as General MIDI keyboards and sequencers with disk drives. 3Fl Basic Blues Rifts BLUES RIFF 1 1 to 35 =3> 1 C7 BLUES RIFF 2 267 ~e4BLUES RIFF 3 2 D7 1 2M. py 1 I I BLUES RIFF 4 “39 bw 90b.p.m. Lc, 24 oe 7 TES Sw 307BLUES RIFF 5 2 Ab. BLUES RIFF 6 2 C1 Fp TF68b.p.m. Bb7 90b.p.m. 1 AmT —— FO C 32 Bg eft GH BLUES RIFF 7 B72 Bb7, BLUES RIFF 8 Gee ee oem Bb7 B7 4T6b.p.m. i BLUES RIFF 9 2 ALB —F5 BLUES RIFF 10 S6b.pan. aBLUES RIFF 11 9 80bpm. 1 Eb9 2, Abs be BLUES RIFF 12 2 FI3 96b.p.m.BLUES RIFF 13 —_PO PF 2 Db9 co = = SSS Sa e ete a a— BLUES RIFF 14 1 FI™ 34 2 BOT 10om BLUES RIFF 15 Bye, 007 rn Pie PAPE ag, om r 4 Cm7 FI3 — tr | 5.Bb . s a: sobpm. BLUES RIFF 16 1 Bo7 + : _ 2, EET, PIR PI OH OHH FI Fs 4BLUES RIFF 17 SSbp.m. 1 Am7 ep, AML TF 7 55 3 F mail BLUES RIFF 18 = Die te 22me EE @ SS | 5. - 6.2.:0—CUcSC—UO CUE UE lUCr Ol rerllDS,lUSLLmUmUCULULULU BLUES RIFF 19 1 110b.p.m. BY ay BLUES RIFF 20 pee 3 Bb?BLUES RIFF 21 1 4 3 Am7 Bm7 4 Am7__Bm7 5S Am7BLUES RIFF 22 65bp.m. 4 = TR RTE RIE RIG ETE RI Te cyst 1 A ar110b.p.m. BLUES RIFF 23 1 AT 34 9 ST RI 2 a cer OH 4g rR EAS BLUES RIFF 24 20 —34 3 G7BLUES RIFF 25 85b.p.m. 3 Gm9 wv B / 5 Em7b5 — oA : = ——_ iE SS ==: a 7 Dm9 = oeBLUES RIFF 26 +7 96b.pm. tr?BLUES RIFF 27 65b.p.m Dm7b5 G7*5 Fol3 _- 37 : b “ee 5 Cm7 FI3 Bom7 mH? be belo) Boi3n9E7#9 8Ebmap SSS T “Wh Ht} 19BLUES RIFF 28 7 96bpm.1 83bpm. cy i BLUES RIFF 29 ca 2 BT = Ss — Ss SSS 2 I IT HH 4 bot —— = —= = = = wt Samael) te («+ — Ot a aBLUES RIFF 30 i 4 5, BD 6, Baim asbpm. BLUES RIFF 31 277 34 3BLUES RIFF 32l2opm. BLUES RIFF 33 FT a 2 «Boy b Tea 3.77Rhythm & Blues Influenced Blues Riffs 34 to 67 BLUES RIFF 34 103b.p.m. reco) 2 BLUES RIFF 35 96b.p.n. 1 Bb7 2 3 albpm, BLUES RIFF 36 1 D9 BT BETSS fa b: 3 D7*9 496bpm. BLUES RIFF 37 2 Boo BLUES RIFF 38 1 Bbm7 2BLUES RIFF 39 103b.p.m. ceo 62) CT#O 1 C79 —-. = aeted vee s # — 37 pos — Se “as —F ae - fe = Pod cr7e9 5 C789 3 c7*9 c#7#9 4 C79 1osb.p.m. BLUES RIFF 40 1 cm7 2 7 bBLUES RIFF 41 2 96bp.m. BLUES RIFF 42 207102b.p.m. BLUES RIFF 43 1 ET 2 AT BLUES RIFF 44 1 BT —z? ae 98b.p.m. ¥ 3 4 —34 5 C19 BT*9 Fy FH 29BLUES RIFF 45 98b.p.m. c7#9 1 B7#9 ene BLUES RIFF 46 2 3C¢BLUES RIFF 47 2 we Sra 103b.p.m. 1 C79, yom — 87bpam. BLUES RIFF 48 | Dm7 5 nl 4 5 Dmi3BLUES RIFF 49 110bp.m. 1 €7#9 key of C) 2 4 ie (key of D) 5 32lobpm. BLUES RIFF 50 ae 2 3 Dm7 1 33BLUES RIFF 51 2 BLUES RIFF 52 2 b:120bp.m. BLUES RIFF 53 1 A 2D, 3El 4A 120bp.m. BLUES RIFF 54 2 1 Fm9 3. Bomo 4 5 Gm7b5 8 Gm7b5 C7b9 9 Fm9BLUES RIFF 55 G7, 3, Bes b. ‘Téb-pm. 22 BLUES RIFF 56 Eo 2 F9 3 £996bpm. BLUES RIFF 57 Fm 2 3 BLUES RIFF 5884bpm. BLUES RIFF 59 2 E07 Lobpm. BLUES RIFF 60 0 c* 1 D9 2 ceo 3 peBLUES RIFF 61 2 Abm7 5 Gm7 6BLUES RIFF 62 2 3104>p.m. BLUES RIFF 63 pp 3 09 4 1 co mH Te APH mI BLUES RIFF 64 290b,p.m. BLUES RIFF 65 1 BTS 2 BLUES RIFF 66 2. Abm7 Bb7*5 3 Ebm9. 4 Abm7 Bo7#5a. BLUES RIFF 67 = 2c 3G es = aS 33 eeBoogie Woogie Blues 68 to 78 BLUES RIFF 68 ‘f’ 1 G7 tee Be 2 96b.p.m. b “b 96b.pm. BLUES RIFF 69 1 r=3H 2 ? we oi 3BLUES RIFF 70 102bp.m. 1 FT 2BLUES RIFF 71 109b.p.m. _#@ aim o Lory r mG eR RH ape b. mR TID FoF FT mH Oi Gi TPT TS opaurng qi GF =e —73 rH i Se b.101bp.m. BLUES RIFF 72 In aml 1 GF —pa mp Gr Gps FE y ee 3 oer ek gr 7-3 , os 98b.p.m. BLUES RIFF 73 1 E, 2 —I- 33 tremoloBLUES RIFF 74 96b.p.n. ape - 1 Bb? BLUES RIFF 75 110bp.m. . be oY Doo pH, 397 oi Ete 1BLUES RIFF 76 2 y126bp.m. BLUES RIFF 77 aac, r , 257 F7 Gira AAA 10 F I p Daca AA AH HW.BLUES RIFF 78 3 102bp.m. D 2 mH GR 51Rock Influenced Biues Riffs 79 to 95 10bp.m. BLUES RIFF 79 : B9 2 —7 205b.p.m. BLUES RIFF 80 1 cm 2 3 52ER EEEETEEEESSDSSSSSSSS SIN BLUES RIFF 81 2 BLUES RIFF 82 2 Eb 3F200. BLUES RIFF 83 1 prey, 7 b 3 L10bp.m, BLUES RIFF 84 3 1 Gm? 2 5 Eb7 6 D7 7 Gm7 8 9Tbpm. BLUES RIFF 85 2G 3 FBLUES RIFF 86 10bp.m. G7 c eh es ae Fer — Se SS Zz zoe He a ee = vag L 4G 5 6 G7 tremolo10bp.m. BLUES RIFF 87 G7 2 3 BLUES RIFF 88 2c7Hohpm. BLUES RIFF 89 1 G7 2 3 liss Biciecdacdacdectaciacie ct 5 i} 4pm. BLUES RIFF 90 Vg ak? ato TH 2 > oeBLUES RIFF 91 2 BLUES RIFF 92 2BLUES RIFF 93 90pm, 1 G F G F 26 F G ponte t opt = + vf —_ ~ — iaGospel Influenced Blues Rifts 94 to 100 BLUES RIFF 94 F744 FT 89b.p.m. 4 Fedim sc 6 C/G 7 Csus4 C —=7— gail 7 go 10Se.p.m, BLUES RIFF 95 1 Fil 2 3F 4 5 Fil 61s0bpm. BLUES RIFF 96 GT KFT HH 32k, Cdim 3 1 Crim — 35 46 1306,p.m. BLUES RIFF 97 1 G7 290b.p.m. BLUES RIFF 98 eee SS “a. a b 4 110bpm. BLUES RIFF 99 Loo Is b rR PR RRR HOH be 63 4 8 Oe eee eEeEeEeEeeEeEeEeEeEeEeEeeeeEeee—__ Te eee | J au ey | % au qd | et a y LL | al #1 we | un 496b.p.m. BLUES RIFF 100 1 Cm7 2 F7 3 Fm7 Boil " 3 2 BT & Ebmaj) Blues Songs 1 & 2 The following six pages show how to combine various riffs from the book to create two blues songs. I hope by studying how this is done you will be able to do the same cither by using the riffs in this book or creating your own. Although in cach of the songs I have used many different types of bass lines to offer variety, in reality, the bass line is generally constant, with some variation. Under both the treble and bass clefs there is an indication showing which riffs are being used and for how many measures in length. Also, some of the riffs have been transposed from the original key to the key of the songs, this is also indicated.H0bp.m. BLUES SONG 1 acy rig 277 —-- 3G Blues riff 31 (measures | t0 3) Blues riff 1 (measures 3 to 5) “Blues riff | (measures 1 105) FT TIS eR OOH Blues riff 3 (measures Sto 7) transposed from E7 to F7 Blues riff 2 (rfeasures 5 to 9) cn al transposed from D710 F7 : ~ PN : mF HP Blues riff 4 (measures 7 t0 9) ™} toe G7 s ae ey Py OR RH RH Blues riff 6 (measures 9 to 11) Blues riff 6 (measures 9 to 13) CT 3 w iF SHH EH HH" gS Blues riff 10 (measures 11 to 13) 65B eI HOT IT OT I C9} Bei Blues riff 10 (measures 13to 17) PSS pg mnvosed re D7 0 C7 = W FIZ transposed Al Holes inci LAE) Blues riff To (measures 15 0 17) Ta Ts FA TIT TIT OTF Blues riff 16 (measures 17 to 19) = transposed from Bb7 to F7 Blues riff 16 (measures 17 to 21) trans. wo eH WF “FH DeFeet sa /Bluesriff 18(measures! 91020)Blues riff 20 (measures20t021) transposed fram D910 C9 | transposed from Bb7 to C7 F7 4S -p9 - 5g STE ee eel PS Blues riff 23 (measures 21 to 23) transposed from A7 toG7 tues riff 22 (measures 21 to 25) transposed from C7 to G723:C7 Me = Bidesriff28(meas.25 to 36) Blues riff 24 (measures 23 to 24) transposed from G7 to C7 (measures 24 to 25) lues riff Blues riff 23%meas 2B transposed trom a Be 26 FT ee ela 2 Cima Blues riff 42 (Mheastres 26 to 27) [Blues rift 59 (measures 27 to 29) transposed from Bb7 10 C7 22 FT F737 wD mp 317 Blues riff 90 (measures 29 to 31) [Blues riff 89 (measures 31 to 33) transposed from E7 to F7 Blues riff 26 (measures 29 to 31) it 3g Wansposed from Gm to F7 33 G7 ae aa 28 (measures 31 t0 33) Pesci ocl om Dee) | transposed fromD7 10 F7 Blues riff 29 (measures 330 37) FR FN ansposed from C¥7 t0.G7 9 Blues riff 13 (measures 35 to 37) 67103 bpm. BLUES SONG 2 1 cro 2 Blues ritt aMmedtres | 10 5) transposed from |B to C Blues riff 91 (measures | to 5) 4 5 F7 Blues riff 46 (meas. 5 to7) Blues riff 53 (meas. 5 to 7) transposed from A to F Blues rift 56 (measures 7 to9) | transposed from E to C oes 10 EMSRS 1 og lues riff 58 (measures 9 to 11) transposed from D to G Blues riff 60 (meas.11 to 13) 12 13 CZ, . ib Blues riff 93 (measures 13 to 15) transposed from D toC i transposed from D to C Blues riff 59 (measures 13 t0 17) 6g Wansposed from Bb toCea Blues riff 62 (measures 15 to 17) transposed from G to C 16 17 F7 18 Blues riff 48(meas. 17 10 19) transposed from Dm to F Blues riff 61 (measures 17 to 19) transposed from D to F 19° C9 20 Blues rif (measures 19 to 21) transposed from Bb to C Blues riff 62 ( measures 19 10 25) 21 G7 a4 22 Fete b. b ‘Blues riff 55 (measures 21 to 22) Blues riff 60 (measures 22 to 23) transposed form Bb to C transposed from D 10 F c 23 C7 ” 25,0" ¢ = Blues riff 70 (measures 23 10 25) Bice rita reas, 25 1.27) transposed from F to C b Blues riff 65 (measures 25 bi) transposed from Bia CBlues riff 82 (measures 27 to 29) 2B 29 FT 30 Blucs riff 95 (measures 29 to 31) 4 Blues riff 66 (measures 29 to a) fr Ebm toF 0 31 C7 2 33.7 Mensposed rom Etm Blues riff 99 (measures 31 10 33) Blues riff 32 (measurcs 33 to 37) Blues riff 41 (measures 31 10.33) Blues riff 52 (measures 3310 37) FT 357 _ transposed from Bb to G 70