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Bopology 101:
Riff 6
Riff 6 (4 bars)
BAR 1 beats 1&2
(ii)
Eighth rest followed by an incomplete descending Am9 arpeggio (higher
B to lower E) followed by a
beats
3&4 (V7b5 or bII7b5)
descending dim7 chord (upper C to lower D#) followed by a
BAR
2 (I)
convoluted G major pentatonic scale which includes its common chromatic
passing tones (b3 & #5) then ending on an F# hinge into a
BAR 3 - beats 1&2
(ii) beats 3&4 (V7b5 or bII7b5)
descending semi-chromatic roll-off (higher G to
BAR 4 (I)
lower G). [It's semi-chromatic only at the very end where the F# replaces
the "expected" Ab.] The final cadence is capped by a high GMaj7 chord
on beat 3.
|---7------8--------|-10-12------------------|
|-----8------10-----|-------10-11-12-8-----7-|
|-------9------11-8-|-----------------97-89--|
|-------------------|------------------------|
|-------------------|------------------------|
|-------------------|------------------------|
|-----------------|---------14-------|
|-876-5-----------|---------12-------|
|------87-65------|---------12-------|
|-----------9-87--|---------12-------|
|---------------9-|-10---------------|
|-----------------|------------------|
Riff 6 midi audio file
Riff 6 Notes:
For the first bar
and first full beat of the second bar, continuity is provided by the
ascending line of each "lead note":
BAR
1 | Beat 1.5 B lead note
BAR 1 | Beat 3.0 C
lead note
BAR 2 | Beat 1.0 D
lead note
BAR 2 | Beat 1.5 E lead
note
The "convoluted" pentatonic
scale is an illustration of how the pentatonic scale can be used creatively
in Jazz without necessarily invoking images of Blues clichés or (in
the case of the major pentatonic scale) Country & Western hokum.
The descending chromatic
line is salvaged from corniness at the very end of the line by substituting
the F# for the "expected" Ab. This substitution yields a much stronger
cadence (F# leading tone into G).
The GMaj7 chord on
BAR 4 beat 3 completes the riff.
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copyright © 2003 Jeff Brent
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