CHICK COREA' Corea Workshop Methods of Composition, improvisation, and Practice Acbooklet fo occompany the video I eo by CHICK COREA ‘itn musical rensenptions by Bob Quaranta ‘Acdtiona! text and analyses Dy Jonn Novela, author ot The Contemporary Keyboardist 1d by Glenn Mangel and Erily A Frankewicz I alos by Janet VanHam sa Gop oe aeratcTON FS OKT Noaionorccereatt as I ewvoa vt 100" abemiene BP 138 oF CONTENTS Prefoce 1 ies Suey PRACTICE: Boch “Golcberg Vatiaton #1” ~ Chilean’ Song #16" I as Nimbus” Practice I TECHNIQUE, HARMONY & IMPROVISATION: “Ten Drummers”. “Foxy Tolove” Mood Indigo Bes 20. : 9 COMPOSITION Cheap but Good Advice forPayng Muse ho Group “ J coro: con 02 PREFACE : What fotovs is shity material forse in conjunction “Keyboard Workshop a video which Chick rade for DCL is pray weten by Crick wh some harmonic analyses by John Novello which shouldbe exenely hell io he ‘2avanced playes The vdeo and book hove much infor ‘ion whscn will be understoe by musioans a every level of ‘experience. fthere ore aspecs that ore beyond your ccsp at ‘fs point you ore sure fo understand more as you dvelop os ployer A suggestion fr nsing your ploce onthe aps when you wish 40 go Dock oo partoulorsocron: sa your VOR courte 'ozora ‘tan you begin vewing te video. AS you get o each sacton, make a note ine booklet os ta Fe coresponcing ‘number on ne courte: Ten when you went review c go ‘iouor spat finding wil be cosy Inthe video, Chick is shown composing ond aranging a song etited "Long Fal” (pat of wich is reprinted in is book, in Chicks own handing). X may be o inst nok ot he did no prepare his tune in advance of fe toping— ha is ‘noi he video is Chick actual wing arovess, —The Procucers PHILOSOPHY OF STUDY Gradient gradual approach 1 something, token step by step, lavel by level, each step or level being, of ise eosiy surmountable36 "nat finaly, quite complicated ond ctficult cc ties con be achieved win relate ease. Win; intending o do something and doing ft, oF In- fending not to do something and nof doing it. Learning to give onesatt “wins” by using ond toking on the-correct gradient is important. if he gradient is foo steep losses ond failure result f00 easy, boredom ‘ond no advancement. So— 1) DECIDE WHAT YOU WANT 70 00. 2) ACHIEVE IT. by selecting and using the correct gradient-the one that will produce the win and feeling of success. Ferme use of defitions of "Grint" ond “Win, grttu acknom- Iedgément is made to the L Ron Hubbers Liey fr permission fo use the copyrighted wors cL Ron HuDberd Copgight C1872 2 pone' Corea Workshop Methods of Composition, improvisation, and Practice Acbooklet fo occompany the video I eo by CHICK COREA ‘itn musical rensenptions by Bob Quaranta ‘Acdtiona! text and analyses Dy Jonn Novela, author ot The Contemporary Keyboardist 1d by Glenn Mangel and Erily A Frankewicz I alos by Janet VanHam sa Gop oe aeratcTON FS OKT Noaionorccereatt as I ewvoa vt 100" abemiene BP 138 oF CONTENTS Prefoce 1 ies Suey PRACTICE: Boch “Golcberg Vatiaton #1” ~ Chilean’ Song #16" I as Nimbus” Practice I TECHNIQUE, HARMONY & IMPROVISATION: “Ten Drummers”. “Foxy Tolove” Mood Indigo Bes 20. : 9 COMPOSITION Cheap but Good Advice forPayng Muse ho Group “ J coro: con 02 PREFACE : What fotovs is shity material forse in conjunction “Keyboard Workshop a video which Chick rade for DCL is pray weten by Crick wh some harmonic analyses by John Novello which shouldbe exenely hell io he ‘2avanced playes The vdeo and book hove much infor ‘ion whscn will be understoe by musioans a every level of ‘experience. fthere ore aspecs that ore beyond your ccsp at ‘fs point you ore sure fo understand more as you dvelop os ployer A suggestion fr nsing your ploce onthe aps when you wish 40 go Dock oo partoulorsocron: sa your VOR courte 'ozora ‘tan you begin vewing te video. AS you get o each sacton, make a note ine booklet os ta Fe coresponcing ‘number on ne courte: Ten when you went review c go ‘iouor spat finding wil be cosy Inthe video, Chick is shown composing ond aranging a song etited "Long Fal” (pat of wich is reprinted in is book, in Chicks own handing). X may be o inst nok ot he did no prepare his tune in advance of fe toping— ha is ‘noi he video is Chick actual wing arovess, —The Procucers PHILOSOPHY OF STUDY Gradient gradual approach 1 something, token step by step, lavel by level, each step or level being, of ise eosiy surmountable36 "nat finaly, quite complicated ond ctficult cc ties con be achieved win relate ease. Win; intending o do something and doing ft, oF In- fending not to do something and nof doing it. Learning to give onesatt “wins” by using ond toking on the-correct gradient is important. if he gradient is foo steep losses ond failure result f00 easy, boredom ‘ond no advancement. So— 1) DECIDE WHAT YOU WANT 70 00. 2) ACHIEVE IT. by selecting and using the correct gradient-the one that will produce the win and feeling of success. Ferme use of defitions of "Grint" ond “Win, grttu acknom- Iedgément is made to the L Ron Hubbers Liey fr permission fo use the copyrighted wors cL Ron HuDberd Copgight C1872 2 poneJS. Bach Goldberg Variation #1 Be inspiration in many i his work ond the ease with which he composed, ity of ig Melodies nis Boch produced a /or of great mus. especioll ony fo ompoae ike on iyanir te atatoe noe ern cog music.CHILDREN’S SONG #16 Chick Coreo a= fa 4 (©. | | | a = — rs : pate te te el tins, BS SS * + 4 CConyight passing approach a fransition bar 4. in Bar. Ne in uses scime cpproach chores ‘a the D7 chord in Lar] $7 G# dir? sia carmen woy to connect FT in 190! postion with F7in frst inversion (third in the ass). This creates good boss motion and sets up the interval of fith above the next chord, D7. which is of ‘colrse excellent bass riotion (bass mation F-E-G#-A- D). Chick then uses @ DB7, a common substitution for the fi chord (@ min 7). Going to the DD7 instead of the stondard 6 min 7 serves two functions: ns, the domi art 7 sounds more bluesy, and second, we cgain ger ‘astrong bass mation of 97-0b7-C7 (note: the interval (of a fith cbove or o halt-step above the intended forget ‘chord is considered fa be excellent bass motion). The lost two bars of any blues is corsidered a ‘umoround, which maans a progression of chores that leads us 45 2: Standard Siues Scala back 1 he top ofthe tune Since this is Chick's lst time trough, he simply ends the tune affe the tur cloud Again, he does some"'ng tesh and co‘ by ending on 9 sus Hype dominant 7 siuctufe nsizod of ctyoico! straight domminart 7 cnord 2) Voi ‘Anottar thing Chick does tha! makes nis interpretation of the piues unique is his song use of fansions. In ars | 3: and 4 the Al (8 natural on the F7 chord {0005 obit of Monk! Same wrth the lat 9 on the BB? chord in bors § & 6 Chick tele to Mis note Cogoin B notyral) os simaly 0” weird” rote In‘erestnal enough. this is 0 very important note ro he blues sound inthis Key as 3) Blues Sound ‘The “blues sound” is composed of two elements |A) The blues cole: Root, 63, 4, #4, 8,07, roo! b = Den ate * 7 root 4 a 5 root 4s you can see, he a4 ison integral port cf he blues 65) Biues tones. crushed, usually non-ciotonis notes Sound and-Chick tokes odvantage of it not only in hs that approach scale tones, but most often are chord 3hord voicings, but also melodically in his entre tones (sae example below). Not only does Chick use ‘mprevisation (see bars 8 9, and 10) this sound in his blues solo (especially bors 8 and 9) itis an integral port of al his melodic playing, & 3. Crushed Blues Notes—F Blues pda abe oe ‘hick odds:even more eoior fo this blues sound rough the use of clusters which ore chord voicings aredeminantly mace up of minor ond major seconds ‘see bars 1:3, "5, and 6). Rhythmicoliy, he adds 0 Sice departure from the norm by his use of swinging atvented sextuplets This really brings this chorus to fe ond odds the final touch and energy fo the ending 1 Chick etdally applies his two-handed scale-playing concert to chords (see bats 3, 4, and 6 especially) 4s Chick points out inthe end, he likes expressive ‘music, ond the 12-bor blues is just such a vehicle. Anything goes! Just Keep the basic I2-bar form and baste chord pattern and add a touch of honest emo- thon ond you're off! as[= | 4 Conright Swe7 Not Beries PuBESTg OSong Fall cont 4 LONG FALL": FORM AND HARMONIC ANALYSIS by Jonn Novelio, 1) FORM ‘The form of this composition is onolyzed as simply AB, section A being I2 bars while section Bis 4 bars, ‘making this a simple Te-bor tune 2) HARMONIC ANALYSIS. Th@*A section is modal, meaning the melody and har ‘ony is based on 0 certain mode or scale, while the B Section derives from on ascending bass line which odulates o'6 major (bar'15), and then chromatically 2Scends back to home bose. 0 B minor’ olor. There are 2 variety of minor modes. tn this cose, although Chick -- 18@8 the chord symbols of B min+5 and A mins, he Dicings he uses in section A could be more cccurotely JeScribed os coming from the aeolian modes of B minor Md A minor. (See Bx. 4) Regarding the B section harmony, Chick just uses his +01 and farmonizes the ascending bass line he Created with different-color chord qualifies, and then composes a melody drawn trom the implied seales of these chords, Here are the various scoles which could be used as a basis for improvisation. Nate that in performing his ‘composition, Chick and the band fake many rhythmic, harmonic, and melodic tberies=lixe playing notes out side thé Dasie scala, adding chromatic possing chords, ‘nd stratching the basic chythm af mes which i typical of this kindof Lotin fusion style. Overall, though, Chick sticks very closely to the basic modes and harmony, (S30 & 2)Fmajz Fisdun —D'FZ_ Dminckatan Sa © Amaji98 Adlon om B derin —— ote 2p hee ae —— ‘hicks application of the various scales used in Long Fall” Dy Jonn Novello with the exception of the C natural in bor 4 (which is. suggests, though, odas 0 nice dimension to the simply on approach note to the roo! B from a halt step stroight B aeolian ond gives nim a bass for the type of ‘bove), and the D natural in bar 16 (Which alsa is an improvising and melodic construction being done. The Spproach note to the lith, Eb, fromm a haitstep below), in the pattem are ali fom the B oeclian mode— all melody notes are from the indicated modes Even i's ust the shape or intervals of the scule pattern ‘sre sete hot Chick suggests using is achrally just which set the overall concept that Chick does so welll notes derived from the B aeolion. The pattern that he“PONG FALL” REHEARSAL WITH TRIO 5 1A Bain Rryinm Pore