feat(kb): piano licks pack #2 — gospel + rnb (task P-61)
8 licks (39 total): the gospel-scale run with the b3->3 crush, shout run-up, harmonized sixths walk (the m6 falling exactly where the major scale demands), diminished roll over the passing #iv dim7; the nine sigh, quartal slip (grace-brushed fourths, all Dorian), the Dilla lazy chromatic drop (derived approaches), pentatonic turn onto the 9. Critic returned once (one interval claim said "each move a step" — actually skip-then-step), fixed with the gate's own prescribed wording, verified against its computed -3/-2 motion. 42/43 first-pass checks; quality-context honesty verified against the styles' real progressions. Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
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vadimwit
@@ -287,4 +287,102 @@ export default {
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targetNotes:
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'Land 3rds on the strong beats, then double your line in 3rds or 6ths — the harmonized run is gospel\'s signature ornament, and on piano it is one hand-shape moved up the scale. Save the ♭3→3 crush for arrivals on the I, and when a walk-up is coming, aim your right-hand line at the same downbeat the bass is walking toward.',
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},
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// Structured piano licks (SCHEMA.md "Piano licks", task P-61). Degree-based
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// and key-agnostic: every deg resolves through the stated quality, approach
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// pitches are derived from the next deg note. Realized offsets in the
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// comments use a C-rooted chord for readability; every interval claim in
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// notes/tips was recomputed from those offsets before writing (P-41 bar).
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licks: [
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{
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// Over Cadd9: C4 D4 (E♭4)E4 G4 A4 C5 — offsets 0 2 [3]4 7 9 12: the
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// hearandplay "gospel scale" (major pentatonic + ♭3) climbed straight
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// up one octave, the ♭3 crushing a half-step into the 3rd.
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id: 'gospel-scale-run',
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name: 'Gospel-scale run (the ♭3→3 crush)',
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level: 'foundation',
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chordContext: 'over the Iadd9 — any major-tonic bar',
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quality: 'add9',
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techniques: ['grace-note'],
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source: 'the pentatonic-♭3 "gospel scale" — hearandplay.com, "Gospel Piano Scales — 6 Different Scales That Can Work Now"',
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notes: [
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{ deg: '1', beat: 1 },
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{ deg: '9', beat: 1.5 },
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{ deg: 'b3', beat: 2, technique: 'grace-note' },
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{ deg: '3', beat: 2 },
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{ deg: '5', beat: 2.5 },
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{ deg: '6', beat: 3 },
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{ deg: '1', octave: 1, beat: 3.5 },
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],
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tips: 'Major pentatonic with one borrowed note: 1–2–♭3–3–5–6–1, the ♭3 crushed into the 3rd almost as one gesture — gospel\'s answer to the string bend, same move the blues makes but headed somewhere brighter. Run it up one octave and stop; the restraint is what keeps it church and not cocktail.',
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},
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{
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// Over C7 (the V7 of an F shout vamp): G4 A4 C5 D5 E5 — offsets
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// 7 9 12 14 16: 5–6–1–9–3 major pentatonic, straight-8th pickup on
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// beats 3–4.5 landing the 3rd on beat 5 (the next downbeat).
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id: 'gospel-shout-runup',
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name: 'Shout run-up (pentatonic pickup)',
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level: 'foundation',
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chordContext: 'over the V7 — the run-up into a shout/praise-break downbeat',
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quality: 'dom7',
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techniques: [],
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source: 'praise-break run-up vocabulary — the drive gear hearandplay teaches in GospelKeys 300 (praise songs & shouting music)',
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notes: [
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{ deg: '5', beat: 3 },
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{ deg: '6', beat: 3.5 },
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{ deg: '1', octave: 1, beat: 4 },
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{ deg: '9', octave: 1, beat: 4.5 },
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{ deg: '3', octave: 1, beat: 5 },
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],
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tips: 'A five-note ladder — 5, 6, root, 9, 3, all major pentatonic off the chord\'s root — thrown at the next bar\'s downbeat like a drummer\'s fill. The landing note is the 3rd, arriving exactly ON beat 1 with the band\'s next hit: in shout music the run exists to make the downbeat feel inevitable. Play it in octaves when the room gets loud.',
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},
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{
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// Over Cmaj7, dyads struck together: C4+A4 → D4+B4 → E4+C5 → G4+E5 —
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// offsets (0,9)(2,11)(4,12)(7,16). Every pair is a sixth (9,9,8,9
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// semitones); bottom voice walks 1–2–3 then leaps a minor 3rd to 5,
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// top sings 6–7–1 then leaps a major 3rd to the high 3. All eight
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// notes diatonic to the root's major scale.
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id: 'gospel-sixths-walkup',
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name: 'Sixths walk-up (the harmonized choir line)',
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level: 'intermediate',
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chordContext: 'over the Imaj7, walking into the next downbeat',
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quality: 'maj7',
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techniques: ['double-stop'],
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source: 'harmonizing the scale in 3rds and 6ths — hearandplay.com, "Harmonization Of The Major Scale Using Third And Sixth Intervals"',
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notes: [
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{ deg: '1', beat: 2 },
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{ deg: '6', beat: 2, technique: 'double-stop' },
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{ deg: '9', beat: 3 },
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{ deg: '7', beat: 3, technique: 'double-stop' },
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{ deg: '3', beat: 4 },
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{ deg: '1', octave: 1, beat: 4, technique: 'double-stop' },
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{ deg: '5', beat: 5 },
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{ deg: '3', octave: 1, beat: 5, technique: 'double-stop' },
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],
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tips: 'One singer with a shadow: the bottom voice walks 1–2–3 up the scale while the top sings 6–7–8 a sixth above, then both voices leap a third onto 5-under-3 for the arrival. Quarter notes, landing on the next bar\'s downbeat — it is the choir\'s soprano-alto pair under your right hand, and the 3rd on top of the last dyad is the note the pack keeps telling you to land on.',
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},
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{
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// Over a °7 (C root): C4 E♭4 G♭4 A4 C5 E♭5 G♭5 A5 — offsets
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// 0 3 6 9 12 15 18 21: pure stacked minor 3rds, two full octaves of
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// the symmetric chord, rolled in 16ths across beats 1–2.75.
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id: 'gospel-dim-roll',
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name: 'Diminished roll (two octaves of the passing chord)',
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level: 'intermediate',
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chordContext: 'over the passing diminished bar — the ♯iv°7 or ♯i°7',
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quality: 'dim7',
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techniques: [],
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source: 'rolling the passing °7 — learncolorpiano.com "Gospel Progression 1 | Diminished 7th Chords"; hearandplay.com diminished walk-ups/walk-downs lesson',
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notes: [
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{ deg: '1', beat: 1 },
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{ deg: 'b3', beat: 1.25 },
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{ deg: 'b5', beat: 1.5 },
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{ deg: '6', beat: 1.75 },
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{ deg: '1', octave: 1, beat: 2 },
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{ deg: 'b3', octave: 1, beat: 2.25 },
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{ deg: 'b5', octave: 1, beat: 2.5 },
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{ deg: '6', octave: 1, beat: 2.75 },
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],
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tips: 'The °7 is symmetric — minor thirds all the way up, the same four note names in every octave — so one four-note fingering (1-2-3-4, cross, repeat) sweeps two octaves without thinking. Roll it like a harp flourish inside the passing bar and let the last note hang: every tone of the chord sits a half-step or whole step from a tone of the chord you are walking into, so wherever you stop, the resolution is already prepared.',
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},
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],
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}
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