THE CHICK COREA CLASSICS Spain / Friends / Litha / The Loop / Straight Up ‘And Down / La Fiesta Arrangements / Transcriptions / Text by Bill DobbinsSpain... Friends onsen tithe ‘The Loop Table of Contents Straight Up And Down .acsrserne LaFiesta .. 12 15 19 .. 27 324 Since the early 1960' Chick Corea has bosnone of the mést influential composers in jazz. His music encompasses @ wide variety of musical settings, from solo piano tolarge ensembies, using both acoustic and electic instruments, He is one of the few jazz composers during the past generation ‘whose compesitions have bacomejazzstan- dards. He is also one of the few jazz com ‘The Chick Corea Classics poserswhohasworked with extencedforns cf commnasitin in verious small croup tor 2 We have selected six of Chick's compe sstions which represent a variery of forms, moods and tempos. These sx compos tions also represent different periads of Chick's mesicaldeveionment. from the eariy 1060's (Susight Up And Down to the l Spain 19805 (The Loop). Wwe have included the harmony pans for allthe arangsments for ‘swo hers (tumpet anc tenor saxd, 38 well ‘es complete aed cheote feral inevuments ‘and detailed piano and bass parts. We are proud to gresent this special volume of th Js2z Workshop Series. We sincerely hope You anjay the music. ill Dobbins: Tis is. probably Chick's best. knowrt ‘compostion. In the version Included nere .we tredtoccapture the erergeticand festive ‘mooé without copying the orignal recording too closely We feel thatour version gives a fresh perspective on this jazz classic with- ‘out chonging any ofits essential features. During the'A’ and °C theres Bily (art isabways varying the placernent of his snare: ‘andtomiom accents. Most crummers would Play thiskind of latin feelin more repetitive Texor slo: ist chorus, meesures 9-16 manner, The sold foundaton provdea ‘hrougneut the performance by Rons (McClure) rhythmic confidence end clarity cives Blythe maximum degree of freedom 1b respond to the music in 2 eompletey feech and epontancous manne. ‘Throughout the solo section Bily sets up the beginning of exch new chorus, some- ‘mes emphasizing he beginning of thelast ight bars 2s well He abo interacts cies tvely with the soloist and pianist, while never allowing this interection or commen ‘ary to interfere with the relaxed yet steady ‘edling ofthe pulse. Joe (Lovano) begins his sot with shor melodie phrases. Sometimes, asin the ox cerpt shown below, he ende his phreses with the same shythm, creating @ subte ‘hyming effect. Em? al : bt —— — x oe Tw To Sea * ‘The second chorus begins with an inter ‘sting use of anticipations and syncopation.. Notice the chromatic embelishment of the fifthof the Gmajchord2t thoverybecinning. This type o} melodic embellishment fainly common in all jazz styles, and the best ‘Tenor solo:2nd chorus, measares 1-17 Gmai7t1 ‘soloists know how to use it efectively. Measures 58 af this excerpt develop a hythen consisting of four eighth nates fot. lowed by either a quarter note and ¢ rest, oF bya tong note. This some chythin = heer ‘againatthe highpointof the nex secton ot ‘the solo, which occurs in measure 18, No~ tice that the thythms at the beginning of measuras 13and 17 also createa thyming offect = o poate sre ye The Chick Corea Classics Em? aT weer gayee se =