CHICK COREACorea si: - Workshop Methods of Composition, improvisation, and Practice ‘bookie! to ccompany the video Written by CHICK COREA With musical transcriptions by Bob Quaranta ‘Additional text and analyses by John Novello, author of “The Contemporary Keyboardist” ited by Glenn Mangel and Emily A. Fronkewicz hots by Janet VanHam 86700 mse Ve Puen ne BS DONA RETIN HS BOK S Semin ose ne Nees wr got (a saesece TABLE OF CONTENTS Preface 1 oe ‘of Study. . . 2 PRACTICE Bach, “Goldoerg Variation #1° “Children’s Song #16", : 3 : coun & 7 I ©: Yelow Nimbus" a Practice 4 TECHNIQUE, HARMONY & IMPROVISATIO’ “Ten Drummers " “Easy To Love" 8 “Mood indigo” % ‘Byes Kd COMPOSITION: “Long Fait” AT ‘Cheap but Good Advice forPloying Music n'a Group a Cosing 2 PREFACE What flows is study materia for use in conjunction with “Keyboard Workshoo’o video which Chick made for DO} tis rimaniy writen by Chick, with some harmonic analyses by John Novello which should be extrernely helpful fo the ‘advanced player. The video and ookiet have much informa- tion which will be understood by musicians af every evel of experience If there are ospecs that are beyond your grasp at ‘his point, you ore sure fo understand more os you develop os aplayer A suggestion for finding your ploce on the fopé when you wish to go bock 0 a particular section: se your VER counter to 2er0 ‘when you begin viewing the video. As you get fo each section, make a noe in he booklet os fo the corresponding ‘number on the courte. Then when you want o review a par ticular spo finding # wil be ensy, In the video, Chick is shown composing and arranging ¢ song ented “Long Fatt” (part of which is reprinted in his booklet in Chicks own handurting). 1 may be o intrest o nol hat he Gi not prepare this tune in advance othe toping—whot is seen onthe video is Chick's acto! wnting process. —The Producers. PHILOSOPHY OF STUDY Grodient:°o gradual approach to something, taken step by step, level by evel, each slep or level being, of itself, easily surmountable~so that finally, quite complicated ond dificult activ ties can be achieved witn relative ease: intending to do something and doing it, or in- tending not to do something and nof doing it. win: Learning to give oneself “wins” by using and toking on ‘the correct gradient is important. If the gradient is oo steep, losses ond failure result if t00 eosy, boredom ‘and-no advancement. So— 1) DECIDE WHAT YOU WANT TO DO. 2) ACHIEVE IT, by selecting and using the ‘correct gradient-the one that will produce the win and feeling of success. Forthe use of dfintions of “Gradient” ond “Win” groefu acknow Jedoement is mode tothe Ron Hubbard Library for permission fo use the copyrighted works of. Ron Hubbard. Copyright ©1972 2J.S. Bach—Goldberg Variation #1 Bach nzs been 0 genera! musical inspiration f his work ond the eose with which he composed. woys-the clority of his interweaving melodies, Bach produced a /ot of great music, especially bility to compose lke on improviser, the abundance keyboard music. meme Chick plays up to here on video. 5 tie 4CHILDREN’S SONG #16 I 1s Chick Cores I e i | I == H cue ont £107 Taten use A hg sanes I = i i I e I ye I | i I I +. 1 ReFLOW At ond music con communicate something wilh beauty and grace. As physical manifestations, the things thot 092 up 19 what many agree to be Deautiful ‘re: —Controt “intention demonstrated and done with ease with intention The Galles New bus Abm. again? ress 9) Imagine the flow of motion you want fo create, be it i boay movement or the playing of a musico! phrase Star the fiow of motion, slowly ot first, and notice oll the “al just notice them—dontt do anything about them. i smaoths out m Chick GorseI The Yellow Nembus cont pA. Note: Chick only plays ps oe Gy bracketed section on video. 9 PRACTICE | find thot ifm practicing o piece ond fm having theids this tite glitch, ond then five seconds later ulty in @ particular part and the difficulty keeps you're having @ problem. Well irs not that section thot ening, very often it will be that there's 0 part just you have to worry abouts the lle glitch earlier that prior fo that where I never gota fingering together, or threw your attention off. So the flow’s gone and you ‘Some iitie giten nappensYou know, you go along and sion 10 stumbie over ere. So you have to find out where those points are. 0TEN DRUMMERS This technique is a matter of considering the fen fingers of the Nands fo be individual ‘musicians, and the 88 keys of he piano to be 88 drums Fives Fives & Fours I I I I I I I 4 1 1 I I I I I I I 1‘TEN DRUMMERS: TWO-HANDED SCALE DRILLS by John Novello into two areas for procticing purposes: I ‘though this technique oppears quite eosy os Gemonstrated, it takes a lof of coordination to do well 1) Scales and Arpeggios, 10 acquire good linear @ |; order for me scale to sound as one phrose ployed movement, Although there are many possibilities, with one hand, there can be no audible “glitches” as here ore three that will help get you storted. They the soole changes hands, IVs therefore very helpful 10 ‘should of course be done four octaves in all twelve ‘do some preparatory drills, which can be divided up ‘keys! Drill #1—Whole Tone Scale I play two octaves fist, then extend fo four octaves L F Tt =" Ra RM La Lit - Rat Ru == i 4 — 4play all major scales Dai #3. 4 2) Patterns—The following afills will prove helpful (5 a transition into two-handed scales. Again, Drill #4 there are many possibilities, but these will moke for 0 good stor. = _—— a ae, nap gs at 7 anes Dill #5 : a be be sve - : = ee é 7? = ene ! = be bye ———————Drill #6—Pertect Fourths iil #7~Chromatic Seconds EASY TO LOVE When | learn 0 standord tune, | like to sit own withthe lead sheet and just find a way of interpreting it thot feels comfortable to me i's ©. cprocess of moking tne meiodies and the otmonies my own 8EASY TO LOVE ~ Cole Porter cosmcity fo a ; Co By Co Consj/Frmsj Emih A713. 81199) e bt A L 2p) =: a5 i eee ¥ a - pS SE 1 | T ones 99 - : Bett oop oe —; ro osoEasy To Love cont, A779.3.013, a Fmaj9 Eml 1omit3) Dmll =t— 3d = te ——— al gs _ e Se SS 4 » S| 4 Ee 2 2 —_# | ¢ — z= oF = =e £ 2 B fa. = 0a bossa 2a EASY TO LOV! boy John Novelio A HARMO? Chick's approach to this tune was jhe "solo piano’ ‘approach, meaning that the arrangement is mace to sound compiete on the piano without any ofher instru enis invoived. dod he Deen thinking of, for instance. & fro, te voigings used would have been a ttle different. Chick's use of ful-spreod voicings, clong with cvailabdie tensions and a few tasty chord substitutions, nave odd ed a nice fouch. In general, though, he has stayed “in bounds" and hos not reharmonized the tune at all ‘someining fo beat in mind, os 100 much reharmoniza~ tion can destroy the whole mood of the composition! exceptions to the traditional changes occur in the form of a few substitutions, and they are as follows: In IC ANALYSIS ar §, he uses a device called “porate! structures’ in which he simply harmonizes the existing melody note (F#) withthe same voicing used on the previous 6 melody. Tis s @ very popular device, which results here in a B69 chord. In bar 8 Chick's er doesrit ike the lead sneet change of F7, and so he changes i to 0 ‘dominant 71h chord 0 fifth away from the following t chord, D min 7. This results in an.A7 chord, and is ‘onalyzed 0s a V7 of I-7 (A7 to 0-7). The traditional ‘chord, F7, is very weok, Bul it warks nevertheless. The AT Chick uses works better, os itis a stronger bass ie motion, £07 would also have worked quite well, os he next-strongest bass motion besides the interval of o fifth is @ halt-step (Eb7 to 0-7). For exomple: In bor 11, Chick simply changes the chord quolity from stock © maj 7 to C moj 7 #5, which he is fond of doing, as it creates on inner voice movement fo the following A min 7 chord (Bill Evans wos also noted for his unique inner voice movement). The purpose of inner voice movement ofthis type is to bring motion to an otherwise stagnant chord progression. In bar 16, as he mentions in the video, Chick alters the B melody to © Bb in order to create the passing melody of B-BD-A. This acts os a strong melodic and harmonic turnaround back fo the main theme. The resultant new chord then becomes A763, in order to accommodate the altered melody. Altering the melody like this, especialy in this syle is done all the time ond is a great way of giving new life fo on arrangement. In bar 26, Chick uses 0 two-chord substitution for the sheet music chord of F min 6. The logic here is that F min 6 is exactly the same os 0 BD9 chord, except for the diferent roots; bis ats ‘ond since any dominant 7 chord can be preceded by its relative II-7 chord (F-7 to Bb7), the rwo-chord substitution of F7:40 Bb7 for F-6 works quite nicely. In bar 27, Chick uses the Il chord £7 in place of the | ‘chord C ma}. As he says on the tape, going directly to the E7 creates o surprise, os one normally wants 10 e@ hear the standard resolution to the C moj 7 chord. This, device s called." deceptive resoiunon: With regard to Chick's voicings: os do most jazz eyboardisis in 0 solo piano situation, Chick loves to volee his chord structures in spreads (chord structures @ spanning over an octave, which include the root of the left hand) ond to use many tensions (9s, 11's, and 13). This style creates @ rich, full, moving sound. In an ensemble, the general rule of thumb is to leave out the root and comp with four-way close voicings (voicings. ‘having a span of less than an octave, which are nor ‘mally used for comping) Sap ote oar = (word mov eup reso) PE 7MOOD INDIGO @ dukes music ond Monk’s music hove o similory tna inspires me fo kind of ‘oss feliz” her. fink Monk wes influenced alt by Duke Theyre Two of my ‘ovotte composers and tnd i easy to snow thei anginal intentions when | ploy ‘hair compostions %MOOD INDIGO Duke's music and Monk's music hove a similarity that inspires me to kind of “oross-ertiize” them. I think Monk wos jot by Duke. They're two of my composers and I find it easy to know their original intentions when | pioy their compositions.a MOOD INDIGO Duke Ellington, Albany Bigard, Irving Mills, Coorg £ 1831 by MILLS MUSIC INC. Al Rights Resewed.Imernatonal Copan Secured. Mate in USA. Conyramt Renewed 158, Uses By Permession. cb Gy 8g the tr baat = 2B nm me em Hm mem eee Ee ee eeeMood Indigo cont Naeabatet. pore: 8 90 tse is = @ ee ee SS SSS SSS eewoos a é ¥ A>majo ada Se | I Te ee — —— =e Boisgil tod) sonarua) ——o. sdmairi) = = xeMood Indigo cont 29849 03d 33 — _ z is SSS = a e a 7 ose SSS —————— e vb 0 toa 2 jE - Shs SSeS Sy a a Es = = * = + Te er eSE- ‘Mood indigo cont SDiadd9no3ed BY oeMOOD INDIGO— RENDERING A MELODY 5% * Wetody-Pray the sHythm af te melody totally straight, wath no contrasting rhythms & 3: Keep imagining that slow, swing beat and then, ploy the melody, Bx 4: Keeping that bosic rhythm, embellish the melody by adding other rhythms. Do this with other tunes. First, play the rhythm of the {hat stytnm you're imagining. Add other rhythms, Keep- melody straight, Then imagine what a drummer might ing that basic rhythm in your imagination. play underaeath i. Then play the melody agoin withBLUES—LAST CHORUS Tne blues are woven into the culture in such to relate to the blues. I's the basic cry of ‘away that it would be difficull not to know humanity dealing with its bare survival the blues ond be olive. Even the wailing ond Anyone who gives some vent to this feeling chanting of the’musies of other lands ~ Swing fee} ms will be playing the blues in his own way. S| = &2 be S be be ete & mi +e be be Fz Pe bebe Blues cont, aTHE BLUES: AN ANALYSIS by John Novelio TB on musiies the blues mean oat fhed se of thee '¢ many vations ofthe blues, Chick uses a hormone changes: over ne yeor nese chonges ove _reighvaly standor or azz Dues nthe key oF boon hormonzed os needed ané wares Anaugh Notte folowing onan of histo! chow 5x 4A, Standard Jazz Blues Form y y: 4 s SS = 7 = = SI vir 21s nr ea ; bs @ Be oft 2 = = = e us 8 ua bass #9 “ Gr a FRUABb Bor cr 43 3 Bb ner1) Harmonic Analysis ve he ransition ts ba 6.he ord ¢ Nes does ths 9; ‘again uses s0me approach chords to the D7 chord in bar?-G-7 to G# dim 7'S'0 cammon woy to connect F7 :n toot pesiion with F7 in frst inversion (third in he boss. This creates good boss motion and sets up the interval ofa fith above the next chord, D7. which is of course excellent boss motion (bass motion F-6-G#-A- D), Chick than uses o Db7, o common subshtution for the Il chord (@ min 7). Going to the DBT instead of the ong: fist he dom nant 7 sounds more bluesy, ond second, we again get ‘ strong bass mation of D7-D87-C7 (note: tne interval of @fih obeve or ahalt-step above the intended target chord is considered to be excellent bass mation), The lost two bars of any blues is cons:dered a turnaround, n7 serves two f standard 6 which means 0 progression of chords that ieads us 2: Standard Blues Scale ar l, Chick hes added a B7 2s 2 possing approach back to the top of the tune Since thisis Chick's last time through, he simoly ends the tune after the turn: by ending on @ of 0 fpical straight dominant 7 cnora 2) Voieings ‘Anoth ain, he does something fresh and color type dominant 7 siructure inst 00 thing Chick does thot makes nis nterpretovion of the blues unique is his sfiong use of tensions. in bars ], 3. and 4, the #1 (B natural) on the F7 chord ‘odds 0 bit of Monk! Some with the Tlot 9 on the BO7 chord in bors 5 & 6. Chick refers to Brotu his note Cogain ral) 9s simply 0 “weird” note Interestingly ‘enough, this is 0 very important note to te blues ssound in this key 3) Blues Sound The "blues sound” is composed of two elements: 1A) The blues scale: Root, 03, 4, #4, 6,07, oot root oa 1 a 4s you can see, the #4 is an integral port of the blues Sound and Chick tokes advantage oft not only in ns ahord voicings, but also melodicaly in his entre mprovisation (see bars 8,9, and 10). 5 3: Crushed Blues Notes—F Blues hick adds even more olor to this blues sound ‘rough the use of clusters, which are chord voicings. aredominantly made up of minor and major seconds ‘See bars 3,3, 48, and 6). Rhythmically, he adds 0 4ice departure from the norm by his use of swinging accented sextuplets, This really brings this chorus to ‘fe and adds the final touch and energy to the ending 8) Blues tones: crushed, usualy non-diatonie notes ‘hat approach scaie tones, but most often are chord tones (see example below), Not only does Chick use this sound in his biues solo (especially bars 8 and 8), ‘Chick actialy applies his two-handed scale-ploying concept to chords (see bars 3, 4, and 6 especially) As Chick points out in the end, he likes expressive music, ond the 12-bar blues is just such a vehicle. Anything goes! Just keep the basic 12-bar form and basic chord paltern and add a touch of honest emo- tion and you're off! 6LONG FALL Tommy 8. ploys this portie a ‘groove for this piece. The B section wos added os 0 from Brazil); $0402 iitle relief to the basic vamp ee Chick Gs a ‘Copyright £1967 Not Bemies Pubishing Co4a ‘LONG FALL”: FORM AND HARMONIC ANALYSIS by John Novelio 1) FORM ‘The form of this composition is analyzed os simply AB; Section A being 12 bars while section 8 is 4 bars, making this a simple 16-bar tune 2) HARMONIC ANALYSIS he A section is modal, meaning the melody and har- “Tony is based on a certain mode or scale, while the B Section derives from an aseending bass line which “Todulates to’G major (bar 15), and then chromatically, 2scenids back to home base, a B minor color. There are 2 Variety of minor modes. inthis case, aitfhough Chick 485 the chord symbols of 8 min-+5 and A min+5, the Oicings te uses in section A could be more accurately !escribed as coming from the aeolian modes of B minor nd A minor, (See Bx. 1) Regarding the B section harmony, Chick just uses his 201 and harmonizes the ascending bass line he Created with ditferent-color chord qualities, ond then Composes a melody drawn from the implied scales of these chords, Here ore the various scoles which could be used as a basis for improvisation, Note that in performing this ‘composition, Chick ond the band fake many rhythmic, harmoni¢, ond melodic liberties~ke playing notes out- side the bosic scale, adding chromatic passing chords, ‘ond stretching the basic rhythm at times-which is {pical ofthis kind'of Latin fusion style: Overall, though, Eick sic vay else to the bosic modes and harmony. (See Bx 2)derived from B aeolian sealeFmt E pheygian ‘Chick's application of the various scales used In Long Fall” by John Novello with the exception of the C natural in bor 4 (which is simply an approach note to the root B from a hait-step ‘300ve), and the D natural in Dar 16 (which also is on ‘approach nate to the Nth, Eb, from a halt-step below), all melody notes are from the indicated modes, Even ‘ne seale that Chiek suggests using is actually lust notes derived from the B aeolian. The pattern that he sugges's, though, adds nice dimension to the straight B aeolian ond gives him a basis for he type of improvising ond melodic construction being done. The notes in the pattern ave al from the B aeolian mode— i's just the shope or intervots of the scale pattern which set the overall concept that Chick does $0 wellSSS aS :“LONG FALL” REHEARSAL WITH TRIO : 5x 4A. Baie: Rnyinn Pattenot CHEAP BUT GOOD ADVICE FOR PLAYING MUSIC IN A GROUP: 1: Play on!) what you h 2. iyo dost ned anything, dont pfay anything 3.. Don't let your fingers Gnd limbs just wander—ploce them intentionally 4. Don't improvise on endlessiyplay something with intention, develop # or not, but then end off, toke o break. 5. Leave space—create space-intentionally create places where you dont piay Moke your sound blend. Listen fo your sound and ‘adjust fo the rest of the bond and the room, 7. Ifyou piay more than one instrument at o time~ ie o drum kit or multiple keyboards-moake sure they are Dolanced with one another 8. Donit make ony of your music mechanically or just through patterns of habit. Create each sound, phrase, ond piece with choice—cdeliberatly 9. Guide your choice of wnat to play by What you {ike-not By what someone else will think high-low fostslow ~ foud-sot : tense-reicxed dense-sparse i’ Ploy to moke thé other musicions sound good. Pigy things that will make the overall music sound good 12. Piay with 0 relaxed body. Always release whatever tension you create 18. Create space-begin, develop and end phrases with intention. 14. Never beat or pound your insirumentplay it easily ‘and gracefully 15. Create space-then piace something in i 16. Use mimiary sparsely-mostly create phrases that ‘contrast with and develop the phrases of the other players. in one woy or another, nelps peoate ge along Defi in if is the best kind of musi \With my music, | ike fo share the joy of moking musi: the pir of playing. | ike music fo keep us tuned fo our basic free dom to crests [pyfl infivence to the normal stresses ond Strains of everyday living in tis west. Inthe "Keyboard Workshop” ve ottempted to shore o few bis (of musical echnique ond study methods thot oreo part of my aking. hope you find them useful in your own ‘music-making and encourage you 10 continue fo spread the ood aes. ‘Thanks to: Glenn Mangel, Rob Wallis, Poul Siegel John Patituoci, Tom Brechien Ron Moss, Sally Hesse, Eveiyn Brechin, Jonn Novello, and Charie Giarcano, for her help cand good work in making this vide. ‘Ando special thanks fo L. Ron Hubbard, whose werk inthe fels ofc and Sudy hove been tremendously heptl tome 08 a musicion, (Chick Corea 2