From 70263e221e9fba089e2245ae3858881d3935cade Mon Sep 17 00:00:00 2001 From: vadimwit Date: Sat, 11 Jul 2026 15:42:23 +0100 Subject: [PATCH] =?UTF-8?q?feat(kb):=20piano=20licks=20pack=20#1=20?= =?UTF-8?q?=E2=80=94=20jazz=20+=20blues,=20the=20KB's=20first=20piano=20li?= =?UTF-8?q?cks=20(task=20P-60)?= MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 8bit 8 licks (31 total): bebop enclosure into the b3, Baker's 3-5-b7-b9 dim-flip over the V7, Powell ascent to the 9th, Garland-lane dominant thirds fall; the b3->3 crush, pentatonic turnaround fall (verified survives over a minor blues), Spann hammer dyads, the cry-and-melt 7#9 fill. All realized before prose was written. Critic PASS (35/35 prose claims recomputed in two keys; idioms verified to match their names, not just cite them; dom7-heavy blues coverage accepted as musically right). Co-Authored-By: Claude Fable 5 --- src/data/kb/blues/piano.js | 98 ++++++++++++++++++++++++++++++++++++++ src/data/kb/jazz/piano.js | 95 ++++++++++++++++++++++++++++++++++++ 2 files changed, 193 insertions(+) diff --git a/src/data/kb/blues/piano.js b/src/data/kb/blues/piano.js index 5daafaa..f9027b1 100644 --- a/src/data/kb/blues/piano.js +++ b/src/data/kb/blues/piano.js @@ -292,4 +292,102 @@ export default { targetNotes: 'Land the 3rd of each chord on the downbeat of the change — bars 5, 9 and 10 are the exam. Treat the two blue notes as a budget with a schedule: the key\'s ♭3 crushes into 3 over the I and sits still as the ♭7 over the IV; the key\'s ♭7 is home over the I and becomes the ♯9 the moment the V arrives. Between phrases, silence — a blues chorus is a conversation, and the piano already talked.', }, + + // Structured piano licks (SCHEMA.md "Piano licks", task P-60). Degree-based + // and key-agnostic: every deg resolves through the stated quality (all four + // licks sit on dominant stations — the blues' native chord; the pentatonic + // fall's tip notes where it survives the minor form too). Realized offsets + // in the comments use a C-rooted chord; every interval claim in notes/tips + // was recomputed from those offsets before writing (P-41 bar). + licks: [ + { + // Over C7: (E♭4)E4 G4 C5 B♭4 G4 (E♭4)E4 — offsets [3]4 7 12 10 7 [3]4. + // Both crushes are the ♭3 (3) into the 3rd (4), same beat. + id: 'blues-b3-crush', + name: 'The ♭3 crush', + level: 'foundation', + chordContext: 'over the I7', + quality: 'dom7', + techniques: ['grace-note'], + source: 'the ♭3→3 crush as the pianist\'s string bend — piano-ology "Killer Blues Piano Grace Notes"', + notes: [ + { deg: 'b3', beat: 1, technique: 'grace-note' }, + { deg: '3', beat: 1 }, + { deg: '5', beat: 1.5 }, + { deg: '1', octave: 1, beat: 2 }, + { deg: '7', beat: 2.5 }, + { deg: '5', beat: 3 }, + { deg: 'b3', beat: 3.5, technique: 'grace-note' }, + { deg: '3', beat: 3.5 }, + ], + tips: 'Strings bend; the piano crushes. Flick the ♭3 into the 3rd almost as one gesture, walk straight up the chord (3, 5, octave root), answer back down (♭7, 5), and close with the same crush that opened the phrase — one blue note, spent twice.', + }, + { + // Over C7: C5 B♭4 G4 F4 E♭4 C4 — offsets 12 10 7 5 3 0: the full + // minor pentatonic (1 ♭7 5 4 ♭3 1) falling top to bottom on the + // triplet grid, landing the low root on beat 3. + id: 'blues-penta-fall-turnaround', + name: 'Pentatonic fall (turnaround run)', + level: 'foundation', + chordContext: 'bar 11, over the I7, setting up the turnaround', + quality: 'dom7', + techniques: [], + source: 'the descending minor-pentatonic run every blues pianist keeps — stock vocabulary; see pianogroove.com\'s Chicago Blues course', + notes: [ + { deg: '1', octave: 1, beat: 1 }, + { deg: '7', beat: 1.33 }, + { deg: '5', beat: 1.67 }, + { deg: '11', beat: 2 }, + { deg: 'b3', beat: 2.33 }, + { deg: '1', beat: 3 }, + ], + tips: 'Top to bottom of the minor pentatonic — root, ♭7, 5, 4, ♭3, root — in one triplet gesture, with a breath before the low root lands on beat 3 so the turnaround has somewhere to kick from. Over the I7 the run\'s ♭3 is the chord\'s ♯9 and the 4 passes between the 3rd and the 5th; the same six keys survive untouched over the i7 of a minor blues.', + }, + { + // Over C7, high dyads: E5+G5 ×4 (offsets 16+19, a minor third apart) + // hammered on the triplet grid, then peeling down the chord: + // C5(12) B♭4(10) G4(7). + id: 'blues-spann-hammer-dyads', + name: 'Spann hammer dyads', + level: 'intermediate', + chordContext: 'over the I7 — the high fill that cuts through a Chicago band', + quality: 'dom7', + techniques: ['double-stop'], + source: 'in the Otis Spann lane — hammered right-hand triplet dyads, the postwar Chicago fill (Blues Hall of Fame)', + notes: [ + { deg: '3', octave: 1, beat: 1 }, + { deg: '5', octave: 1, beat: 1, technique: 'double-stop' }, + { deg: '3', octave: 1, beat: 1.33 }, + { deg: '5', octave: 1, beat: 1.33, technique: 'double-stop' }, + { deg: '3', octave: 1, beat: 1.67 }, + { deg: '5', octave: 1, beat: 1.67, technique: 'double-stop' }, + { deg: '3', octave: 1, beat: 2 }, + { deg: '5', octave: 1, beat: 2, technique: 'double-stop' }, + { deg: '1', octave: 1, beat: 2.33 }, + { deg: '7', beat: 2.67 }, + { deg: '5', beat: 3 }, + ], + tips: 'One dyad — the 3rd with the 5th a minor third above it — hammered four times on the triplet grid like a snare press, then the line peels off down the chord: octave root, ♭7, settling on the 5th. The repetition IS the lick; on a slow blues, stretch it toward a tremolo.', + }, + { + // Over C7 as the V7 (an F blues): E♭5(15) held, D5(14), B♭4(10), + // G4(7), then the crush (E♭4=3)E4(4). The ♯9→9 melt is 15→14. + id: 'blues-cry-melt-v7', + name: 'The cry and melt (V7 fill)', + level: 'intermediate', + chordContext: 'over the V7, bar 9 of a slow blues', + quality: 'dom7', + techniques: ['grace-note'], + source: 'the ♯9→9 "crying" resolution — pianogroove.com slow-blues lessons; the no-5th grip per piano-ology "Dominant 7(♯9) Voicings"', + notes: [ + { deg: '#9', octave: 1, beat: 1 }, + { deg: '9', octave: 1, beat: 2 }, + { deg: '7', beat: 2.33 }, + { deg: '5', beat: 2.67 }, + { deg: 'b3', beat: 3, technique: 'grace-note' }, + { deg: '3', beat: 3 }, + ], + tips: 'Lean on the ♯9 for a full beat — over the V7 it is the key\'s own ♭7, the crying note — then let it melt a half-step onto the natural 9, fall through the ♭7 and 5th, and land a ♭3 crush on the 3rd. Placement is the whole trick: bar 9 is the emotional peak of the form.', + }, + ], } diff --git a/src/data/kb/jazz/piano.js b/src/data/kb/jazz/piano.js index bab9d38..fad90ea 100644 --- a/src/data/kb/jazz/piano.js +++ b/src/data/kb/jazz/piano.js @@ -253,4 +253,99 @@ export default { targetNotes: 'Land the 3rd of each chord on the downbeat of the change — your left hand is already holding it, so the ear-check is built in. In any ii–V–I the 7th of one chord falls a half-step to the 3rd of the next; play that two-note rail as a whole-note chorus before you play eighth notes.', }, + + // Structured piano licks (SCHEMA.md "Piano licks", task P-60). Degree-based + // and key-agnostic: every deg resolves through the stated quality, approach + // pitches are derived from the next deg note. Realized offsets in the + // comments use a C-rooted chord for readability; every interval claim in + // notes/tips was recomputed from those offsets before writing (P-41 bar). + licks: [ + { + // Over Cm7: C5 B♭4 G4 (E4) (D4) E♭4 — offsets 12 10 7 [4] [2] 3. The + // approaches derive from the ♭3 target: above = 4 (the major 3rd, the + // outside note), below = 2 (the 9). Triplet pickup into beat 3. + id: 'jazz-enclosure-b3', + name: 'Enclosure into the ♭3', + level: 'intermediate', + chordContext: 'over the ii7', + quality: 'min7', + techniques: [], + source: 'the bebop enclosure — Barry Harris workshop vocabulary; David Baker, How to Play Bebop Vol. 1', + notes: [ + { deg: '1', octave: 1, beat: 1 }, + { deg: '7', beat: 1.5 }, + { deg: '5', beat: 2 }, + { approach: 'chrom-above', beat: 2.33 }, + { approach: 'chrom-below', beat: 2.67 }, + { deg: '3', beat: 3 }, + ], + tips: 'The line falls down the chord — octave root, ♭7, 5th — then the enclosure frames the ♭3 from a half-step either side: the upper neighbour is the major 3rd (deliberately outside on a minor chord), the lower is the 9. Land the target on a strong beat; the two "wrong" notes are what make the right one land.', + }, + { + // Over C7: E4 G4 B♭4 D♭5 C5 — offsets 4 7 10 13 12: stacked minor + // thirds 4→7→10→13 (the dim7 arpeggio off the 3rd), then the ♭9 + // falling a half-step onto the octave root. + id: 'jazz-dim-flip-v7', + name: '3–♭9 arpeggio over the V7', + level: 'foundation', + chordContext: 'over the V7, resolving to the I', + quality: 'dom7', + techniques: [], + source: 'the 3–5–♭7–♭9 diminished arpeggio — David Baker, How to Play Bebop Vol. 1', + notes: [ + { deg: '3', beat: 1 }, + { deg: '5', beat: 1.5 }, + { deg: '7', beat: 2 }, + { deg: 'b9', octave: 1, beat: 2.5 }, + { deg: '1', octave: 1, beat: 3 }, + ], + tips: 'From the 3rd it is minor thirds all the way up — 3, 5, ♭7, ♭9 spell the diminished seventh chord that lives inside every dominant — and the ♭9 sighs a half-step back onto the octave root. When the chord changes, that landing note is renamed the I\'s 5th, so the lick resolves itself.', + }, + { + // Over Cmaj7: C4 (E♭4) E4 G4 B4 D5 C5 — offsets 0 [3] 4 7 11 14 12. + // The chromatic slip derives from the 3rd (4−1=3); thirds 4→7→11→14; + // the 9 settles a whole step onto the octave root. + id: 'jazz-powell-ascent', + name: 'Powell ascent to the 9th', + level: 'intermediate', + chordContext: 'over the Imaj7', + quality: 'maj7', + techniques: [], + source: 'in the style of Bud Powell\'s right-hand arpeggio runs — Mark Levine, The Jazz Piano Book', + notes: [ + { deg: '1', beat: 1 }, + { approach: 'chrom-below', beat: 1.5 }, + { deg: '3', beat: 2 }, + { deg: '5', beat: 2.5 }, + { deg: '7', beat: 3 }, + { deg: '9', octave: 1, beat: 3.5 }, + { deg: '1', octave: 1, beat: 4 }, + ], + tips: 'One chromatic slip between the root and the 3rd, then nothing but thirds: 3–5–7–9 climbs the chord to the colour tone before the 9 relaxes a whole step onto the octave root. Arpeggiate to the 9th, not the root — the top of the line is where the chord gets its shine.', + }, + { + // Over C7, dyads low+high struck together: B♭4+D5 → A4+C5 → G4+B♭4 → + // E4+G4 — offsets (10,14)(9,12)(7,10)(4,7). Every pair is a third + // (4,3,3,3 semitones); top voice 14→12→10→7, bottom 10→9→7→4; all + // eight notes diatonic to the dominant (Mixolydian) scale. + id: 'jazz-thirds-fall-dom', + name: 'Dominant thirds fall', + level: 'intermediate', + chordContext: 'over the V7, or any dominant bar of a jazz blues', + quality: 'dom7', + techniques: ['double-stop'], + source: 'the dominant scale in diatonic thirds — Barry Harris workshop vocabulary; placed like Red Garland\'s offbeat fills', + notes: [ + { deg: '7', beat: 1 }, + { deg: '9', octave: 1, beat: 1, technique: 'double-stop' }, + { deg: '13', beat: 1.5 }, + { deg: '1', octave: 1, beat: 1.5, technique: 'double-stop' }, + { deg: '5', beat: 2 }, + { deg: '7', beat: 2, technique: 'double-stop' }, + { deg: '3', beat: 2.5 }, + { deg: '5', beat: 2.5, technique: 'double-stop' }, + ], + tips: 'Four dyads, each one a third: the top voice walks 9–root–♭7–5 (two whole steps, then a skip) while the bottom answers ♭7–13–5–3 (a half-step, a whole step, then a skip), landing on the chord\'s 3rd-plus-5th. No finger travels more than a minor third between hits. Played short on the offbeats it is comping; let it ring on the beat and it is a fill — same four grips.', + }, + ], }