# Doodlin'

Which Key Horrace plays this is D-flat, which is a little tricky to read, but sounds good on saxophone because the riff fits right down on the bottom register, hitting the low B-flat. Robben Ford's version is in the key of C, so the b-flat instruments need an "A" note on the riff and playing a register higher can feel harsh. Suggestion prepare the soprano to play low B-flat fairly easily and try the concert D-flat key of the original version. The diminished V sub run will then be based on B-diminished on saxophone.

Here's Leon's transcript of Horraces 3+3+3+3 = 12 Format in Concert C The sheet can be found in Standards Real Book page 115 but key of E-flat Notice the rhythmic difference between the Horrace Silver Jazz version and the Robben Ford version. Horrace play the riff end to end each over 3 beats 3+3+3+3 = 12 but Robben plays a more rock/blues rhythm : 3 + rest + 3 + rest + 3 + rest = 12 beat.
C bars 1-4 BOOM! TWO THREE FOUR | ONE TWO THREE BOOM | BOOM TWO THREE FOUR | ONE TWO THREE BOOM ....|
G bars 6-7 BOOM! TWO THREE FOUR | ONE TWO THREE BOOM |
C bars 8-9 BOOM TWO THREE FOUR | ONE TWO THREE BOOM ....|
a pair = 6 beats + two rests = two exact bars. So Robbens version does not Walk over the 4/4 time.
Points
1. The riff repeats a 3-beat pattern 4 times across 4/4 time. 4x3 = 12beats = 3 bars!!!
2. The effect is that the riff shifts it's starting beat within the 4/4 measures.
 1st Beat 2 of bar 1 Beat 1 of bar 2 Beat 4 of bar 2 Beat 3 of bar 3
The 12-bar riffs start on beat 2 of bar 1 so: 2-bar + 1 beat intro goes like this:
Both versions hit the first riff on the second beat of the bar. The difference is that the Rock/Blues version does that for every time repeatedly, but Horrace's jazz version walks across beats so that each repeat starts a beat later. 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 / / / | 3BEATRIFF | 3BEATRIFF

## Robben Ford's Version

Similar 3-beat riff but This time, instead of playing 4 of these consecutively, he plays two and leaves 2 beats rest (drumbeat + stab organ chord) before the next 2. This puts all the riff pairs on the same start beat 2.

Turn around Diminished substitute chord for V7 - the last four bars 9-12 play an ascending diminished scale landing on the 5th and settling on the I major root. To land on the 5th , start the dim scale one semi-tone above the lower 5th (Flat 6th or sharpened 5th) , because the Dim scales stretch one semi-tone short of a full octave. This is a relatively modern Dim SUB for a V7 chord. Another is to start ON the 5th but after just 6 eight notes , hit an inversion of the I major triad. Eg Key = D - 5th a A A B C D Eb F# A D

Robben Ford's version seems to be unique. Ray Charles' and Dee Dee Bridgewater's (the latter is a vocal) versions, for example, follow the Silver arrangement. It may be that Robben Ford, as a blues player, liked the symmetry that his arrangement provides. I'm comfortable with his way! E

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