feat(kb): piano licks pack #1 — jazz + blues, the KB's first piano licks (task P-60)
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 <noreply@anthropic.com>
This commit is contained in:
vadimwit
@@ -292,4 +292,102 @@ export default {
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targetNotes:
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'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.',
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},
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// Structured piano licks (SCHEMA.md "Piano licks", task P-60). Degree-based
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// and key-agnostic: every deg resolves through the stated quality (all four
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// licks sit on dominant stations — the blues' native chord; the pentatonic
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// fall's tip notes where it survives the minor form too). Realized offsets
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// in the comments use a C-rooted chord; every interval claim in notes/tips
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// was recomputed from those offsets before writing (P-41 bar).
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licks: [
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{
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// Over C7: (E♭4)E4 G4 C5 B♭4 G4 (E♭4)E4 — offsets [3]4 7 12 10 7 [3]4.
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// Both crushes are the ♭3 (3) into the 3rd (4), same beat.
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id: 'blues-b3-crush',
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name: 'The ♭3 crush',
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level: 'foundation',
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chordContext: 'over the I7',
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quality: 'dom7',
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techniques: ['grace-note'],
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source: 'the ♭3→3 crush as the pianist\'s string bend — piano-ology "Killer Blues Piano Grace Notes"',
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notes: [
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{ deg: 'b3', beat: 1, technique: 'grace-note' },
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{ deg: '3', beat: 1 },
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{ deg: '5', beat: 1.5 },
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{ deg: '1', octave: 1, beat: 2 },
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{ deg: '7', beat: 2.5 },
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{ deg: '5', beat: 3 },
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{ deg: 'b3', beat: 3.5, technique: 'grace-note' },
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{ deg: '3', beat: 3.5 },
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],
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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.',
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},
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{
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// Over C7: C5 B♭4 G4 F4 E♭4 C4 — offsets 12 10 7 5 3 0: the full
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// minor pentatonic (1 ♭7 5 4 ♭3 1) falling top to bottom on the
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// triplet grid, landing the low root on beat 3.
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id: 'blues-penta-fall-turnaround',
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name: 'Pentatonic fall (turnaround run)',
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level: 'foundation',
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chordContext: 'bar 11, over the I7, setting up the turnaround',
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quality: 'dom7',
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techniques: [],
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source: 'the descending minor-pentatonic run every blues pianist keeps — stock vocabulary; see pianogroove.com\'s Chicago Blues course',
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notes: [
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{ deg: '1', octave: 1, beat: 1 },
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{ deg: '7', beat: 1.33 },
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{ deg: '5', beat: 1.67 },
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{ deg: '11', beat: 2 },
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{ deg: 'b3', beat: 2.33 },
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{ deg: '1', beat: 3 },
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],
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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.',
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},
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{
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// Over C7, high dyads: E5+G5 ×4 (offsets 16+19, a minor third apart)
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// hammered on the triplet grid, then peeling down the chord:
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// C5(12) B♭4(10) G4(7).
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id: 'blues-spann-hammer-dyads',
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name: 'Spann hammer dyads',
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level: 'intermediate',
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chordContext: 'over the I7 — the high fill that cuts through a Chicago band',
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quality: 'dom7',
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techniques: ['double-stop'],
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source: 'in the Otis Spann lane — hammered right-hand triplet dyads, the postwar Chicago fill (Blues Hall of Fame)',
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notes: [
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{ deg: '3', octave: 1, beat: 1 },
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{ deg: '5', octave: 1, beat: 1, technique: 'double-stop' },
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{ deg: '3', octave: 1, beat: 1.33 },
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{ deg: '5', octave: 1, beat: 1.33, technique: 'double-stop' },
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{ deg: '3', octave: 1, beat: 1.67 },
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{ deg: '5', octave: 1, beat: 1.67, technique: 'double-stop' },
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{ deg: '3', octave: 1, beat: 2 },
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{ deg: '5', octave: 1, beat: 2, technique: 'double-stop' },
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{ deg: '1', octave: 1, beat: 2.33 },
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{ deg: '7', beat: 2.67 },
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{ deg: '5', beat: 3 },
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],
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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.',
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},
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{
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// Over C7 as the V7 (an F blues): E♭5(15) held, D5(14), B♭4(10),
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// G4(7), then the crush (E♭4=3)E4(4). The ♯9→9 melt is 15→14.
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id: 'blues-cry-melt-v7',
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name: 'The cry and melt (V7 fill)',
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level: 'intermediate',
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chordContext: 'over the V7, bar 9 of a slow blues',
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quality: 'dom7',
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techniques: ['grace-note'],
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source: 'the ♯9→9 "crying" resolution — pianogroove.com slow-blues lessons; the no-5th grip per piano-ology "Dominant 7(♯9) Voicings"',
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notes: [
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{ deg: '#9', octave: 1, beat: 1 },
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{ deg: '9', octave: 1, beat: 2 },
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{ deg: '7', beat: 2.33 },
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{ deg: '5', beat: 2.67 },
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{ deg: 'b3', beat: 3, technique: 'grace-note' },
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{ deg: '3', beat: 3 },
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],
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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.',
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},
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],
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}
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@@ -253,4 +253,99 @@ export default {
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targetNotes:
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'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.',
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},
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// Structured piano licks (SCHEMA.md "Piano licks", task P-60). 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 Cm7: C5 B♭4 G4 (E4) (D4) E♭4 — offsets 12 10 7 [4] [2] 3. The
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// approaches derive from the ♭3 target: above = 4 (the major 3rd, the
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// outside note), below = 2 (the 9). Triplet pickup into beat 3.
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id: 'jazz-enclosure-b3',
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name: 'Enclosure into the ♭3',
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level: 'intermediate',
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chordContext: 'over the ii7',
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quality: 'min7',
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techniques: [],
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source: 'the bebop enclosure — Barry Harris workshop vocabulary; David Baker, How to Play Bebop Vol. 1',
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notes: [
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{ deg: '1', octave: 1, beat: 1 },
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{ deg: '7', beat: 1.5 },
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{ deg: '5', beat: 2 },
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{ approach: 'chrom-above', beat: 2.33 },
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{ approach: 'chrom-below', beat: 2.67 },
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{ deg: '3', beat: 3 },
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],
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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.',
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},
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{
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// Over C7: E4 G4 B♭4 D♭5 C5 — offsets 4 7 10 13 12: stacked minor
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// thirds 4→7→10→13 (the dim7 arpeggio off the 3rd), then the ♭9
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// falling a half-step onto the octave root.
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id: 'jazz-dim-flip-v7',
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name: '3–♭9 arpeggio over the V7',
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level: 'foundation',
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chordContext: 'over the V7, resolving to the I',
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quality: 'dom7',
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techniques: [],
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source: 'the 3–5–♭7–♭9 diminished arpeggio — David Baker, How to Play Bebop Vol. 1',
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notes: [
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{ deg: '3', beat: 1 },
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{ deg: '5', beat: 1.5 },
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{ deg: '7', beat: 2 },
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{ deg: 'b9', octave: 1, beat: 2.5 },
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{ deg: '1', octave: 1, beat: 3 },
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],
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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.',
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},
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{
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// Over Cmaj7: C4 (E♭4) E4 G4 B4 D5 C5 — offsets 0 [3] 4 7 11 14 12.
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// The chromatic slip derives from the 3rd (4−1=3); thirds 4→7→11→14;
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// the 9 settles a whole step onto the octave root.
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id: 'jazz-powell-ascent',
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name: 'Powell ascent to the 9th',
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level: 'intermediate',
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chordContext: 'over the Imaj7',
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quality: 'maj7',
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techniques: [],
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source: 'in the style of Bud Powell\'s right-hand arpeggio runs — Mark Levine, The Jazz Piano Book',
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notes: [
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{ deg: '1', beat: 1 },
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{ approach: 'chrom-below', beat: 1.5 },
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{ deg: '3', beat: 2 },
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{ deg: '5', beat: 2.5 },
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{ deg: '7', beat: 3 },
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{ deg: '9', octave: 1, beat: 3.5 },
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{ deg: '1', octave: 1, beat: 4 },
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],
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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.',
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},
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{
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// Over C7, dyads low+high struck together: B♭4+D5 → A4+C5 → G4+B♭4 →
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// E4+G4 — offsets (10,14)(9,12)(7,10)(4,7). Every pair is a third
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// (4,3,3,3 semitones); top voice 14→12→10→7, bottom 10→9→7→4; all
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// eight notes diatonic to the dominant (Mixolydian) scale.
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id: 'jazz-thirds-fall-dom',
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name: 'Dominant thirds fall',
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level: 'intermediate',
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chordContext: 'over the V7, or any dominant bar of a jazz blues',
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quality: 'dom7',
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techniques: ['double-stop'],
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source: 'the dominant scale in diatonic thirds — Barry Harris workshop vocabulary; placed like Red Garland\'s offbeat fills',
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notes: [
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{ deg: '7', beat: 1 },
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{ deg: '9', octave: 1, beat: 1, technique: 'double-stop' },
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{ deg: '13', beat: 1.5 },
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{ deg: '1', octave: 1, beat: 1.5, technique: 'double-stop' },
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{ deg: '5', beat: 2 },
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{ deg: '7', beat: 2, technique: 'double-stop' },
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{ deg: '3', beat: 2.5 },
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{ deg: '5', beat: 2.5, technique: 'double-stop' },
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],
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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.',
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},
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],
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}
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