Riot - Herbie Hancock Transcription Project (Part 2)

Herrbie Hancock's solo on "Riot" from  Speak Like a Child (1968) was the first solo I choose to transcribe and I was immediately drawn to the agitated vibe as well the spontaneous feeling of Herbie's playing. When discussing the album on the original liner notes Herbie says, "the harmonies in these numbers are freer in the sense that they're not so easily identifiable chordally in the conventional way. I'm more concerned with sounds than chords, and so I voice the harmonies to provide a wider spectrum of colors that can be contained within the traditional chord progression".   It was also interesting to check out Miles Davis' recording on Nefertiti (with Herbie on piano) and Robert Glasper's version on Canvas. 




 A couple of notes:
1. Motivic Development- As I mentioned in my last post, Herbie is a master of taking a motive and letting grow and this solo is no exception.This seems especially true for the Emi(b6) chord and almost everything he plays over the chord is some sort of repeated idea (i.e. mm. 81-89).  Aside from given a sense of cohesion and unity to Herbie's phrases, it is also a way to build up the energy of a solo.   An excellent example is the three-note motive Herbie begins to  plays over the Emi(b6) chord in mm 21.  Herbie and seamlessly flows s into the F#7 as he begins to ascend with the motive before falling back down, giving the entire phrase a nice arc.

Additionally, several times throughout the solo Herbie repeats a rhtymic motive to create a hemiola-like effect and to build tension/interest.  

Another way Herbie adds interest is by using chromatic patterns or motives that are not necessarily meant to reflect  a particular the scale.  This is most apparent at the end of the solo from measure 170-179 and with the undulating figures at the very end of the solo.

2. Use of the diminished scale-  Over the F#7 (b9#11) Herbie relies heavily on the diminished scale (half step/whole step).  In mm. 154-160 he uses ascending minor thirds mostly built from that scale. 

3.  Mi (b6) chord- Right from start, one of the most interesting aspects of this tune is the mi (b6) chord which plays a large part in creating the dark atmosphere of the tune.  Herbie commonly voices the Emi(b6) as G-C-F#, and sometimes throws in a B for an added crunch.  Additionally, in his right hand lanes, Herbie regularly emphasizes the C natural.  

4. 4ths voicings  - Herbie intermittently uses 4ths voicings in his left hand and occasionally moves the voicing around chromatically as in mm. 100-113 and mm. 171-179.  Herbie's approach to left hand planing in this solo comparable to McCoy Tyner's style but the technique is used less exclusively than McCoy on something like Passion Dance.  Overall, Herbie achieves a nice balance between 4ths voicings and voicings that highlight the chord more extensively.

5.  An interesting aspect of this track is the interplay between Herbie and the horns starting at 2:36. He does a great job playing off of  the background figures to enhance his solo and to build up to a high point  at 3:08 before continuing with his solo.

6. After coming out of the horn sendoff at 3:08, Herbie begins soloing over a new set of chords and I'll admit that I was having a hard time conclusively discerning the changes. The chords notated in my transcription are educated guesses based on Herbie's left hand voicings and also by listening to Ron Carter's  bass lines.  I also used the alternate takes as references because Ron Carter is clearer about highlighting the root in those versions.  This was also a difficutly I faced while transcribing the head arrangement from the album. With that in mind it was instructive and comforting to read Herbie's comments from liner notes that I posted above.