25 Best Jazz Riffs

Prévia do material em texto

Best Jazz Riffs
: 44
c
1 - Major7
1
Cmaj7Q
)
B
*
B
)
B
'
G
(
B
"!
B
)
B
*
BL
(
B
"!
B
*
B
)
BD
(
BF
*
B
"!
B
EE
2 - Major 7 with chromaticism
3 Q
&
B
'
B
(
BF
)
B
'
B
&
B
)
BL
'
B
&
BF
)
BE
)
B
(
B
'
BE
&
B
&
B
(
B
&
B
$
B
&
B
#
B
$
B
'
B
EEE
3 - Martino and major7
6
"!
Ebmaj7
B
"$
B
"#
B
"!
B
"#
B
"$
B
"#
B
""
B
*
BE
"!
BF
"!
B
"!
B
"!
BF
""
B
""
B
""
B
""
BE
"#
BF
"#
B
"#
B
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B
"$
B
"$
B
"$
B
"!
B
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B
"#
B
"$
B
"#
B
""
B
"!
B
""
B
"#
BF
"$
B
"!
B
"$
B
""
B
"#
B
"!
B
"$
B
"#
B
""
BE
"!
B
"%
BF
"$
BE
DDF
4 - Don Mock and maj7
9
"!
Dmaj7
B
*
B
"#
B
""
B
*
B
"#
B
*
B
"!
B
""
BD
*
B
"#
B
""
B
*
B
"#
B
*
B
"!
BF
""
B
*
B
"#
B
"#
B
"!
B
"#
B
*
B
"!
BF
""
BD >
"!
""
BBL
Page 1/7
EEEE
5 - Scofield-type Lydian riff
11
Abma7#11Q
%
B
$
B
'
B
'
B
&
BF
%
BE
$
B
%
BL
#
G
$
BF
'
B
%
B
&
B
&
B
'
B
3
3
%
G
&
BF
$
B
'
B
%
A
3
F FF F
6 - Descending pentatonic minor
14
"(
Am7B
"(
B
"&
B
"&
B
"#
B
"$
B
"%
u
B
"&
B
"#
B
"$
B
*
B
"!
B
)
B
(
B
"!
B
*
B
(
B
(
B
"!
B
"!
B
(
B
(
B
&
B
&
B
)
B
(
B
&
B
&
B
$
B
$
B
!
B
&
B =
DDDD
7 - Mentor´s minor riff
19
*
F#m7
B
""
B
*
B
""
B
*
B
""
B
)
B
*
B
""
B
)
B
*
B
""
B
*
B
"!
B
*
B
""
B
*
B
""
B
"$
B
"#
B
"!
G
""
B
"#
B
"$
B
""
B
"%
B
"#
BF
"$
BD
"%
B
""
B
3
8 - C Dorian
21
Cm7 P
'
BD H
)
BF
&
BF
'
BD
&
BF
(
B
&
B
(
BF
&
BF
)
BF
'
BF
)
BF
)
B
'
B
)
B
(
BF
&
BF
&
BF
'
B
&
BF
)
BF
&
B
)
BF
&
BF
)
BD
(
BF
&
BF AL
DDF F
9 - B harmonic minor
26
(
Bm(maj7)B
"!
B
*
B
(
B
'
BD
)
B
(
B
*
B
(
B
'
B
(
B
)
BD
*
B
'
B
(
B
)
BD
*
B
"!
B
)
BD
*
B
"!
B
*
B
(
B
*
B
"!
B
*
B
(
B
'
BD
(
B
Page 2/7
DF
10 - E Aeolian
28
#
Em7
B
&
B
%
B
&
B
#
B
&
B
%
B
&
B
%
B
#
B
%
B
&
B
$
B
&
B
#
B
&
B
#
B
%
B
&
B
$
B
&
B
$
B
#
B
$
B
%
B
#
B
&
B
%
B
#
A
F
11 - G Mixolydian lick#1
32
"#
G9B
*
B
"!
B
"#
B
"#
B
"!
B
*
B
"#
B
""
BD
"#
B
"!
BF
"#
B
*
B
"#
B
"!
B
"!
B
""
G
"#
B
""
BD
"!
BF
*
BD
)
BF
"!
B
*
B
(
B
)
=
12 - Barney Kessel-type blues
36 P
"!
BL
*
F7BD
"!
B
""
BD
"#
B
"$
B
"$
B
""
BD
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B
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B
""
BD
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BD
"!
B
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BD
"!
B P
"$*
G>
"!
==
13 - Sus4 and Pentatonic
40 P
*
BL
"#
B9sus4B
"!
B
""
BD
*
B
""
BD
*
B
"#
B
""
B
*
B
""
BD
*
B
"#
B
"!
B
""
BD
*
B
"%
BD
"#
B
"%
BD
"#
B
"%
B
*
B
"#
B
"!
B
*
B
44
)
BD
"!
B
(
BF
"!
B
'
BD
(
BD
*
B
*
B
'
BD
(
B
(
B
*
B
(
B
(
B
*
BD
*
BD
(
B
(
B
(
B
(
B
'
AD
Page 3/7
14 - Emily Remler-type riff
47
(
Eb7#11B
)
BD
"!
B
""
BD
)
B
*
BD
)
BF
""
BD
"!
BF
""
BD
"!
BF
)
B
"!
B
""
B
"!
BF
)
B
)
BD
""
BD
"!
BF
)
BD
(
BF
15 - G Mixolydian lick #2
49R
(
G9B
"!
B
"!
B
(
B
)
B
(
B
"!
B
"!
B R
"!
B R
)
B
(
B
)
B
"!
BM M
"!
B R
"!
B R
)
B
(
B
)
B
*
BD
"!
B
(
B
)
B
*
B
"!
B
)
B
"!
B
*
BM M
51
(
B
"!
B
*
B
(
B
"!
B
*
B
(
B
"!
B
*
B
(
B
*
B
"!
B
(
B
*
B
(
B
"!
B
)
B
(
B
"!
B
)
B
(
A
DDD
16 - George Benson-type riff
53
()
?1/2
E7BFB
()
?1/2
BB
()
?1/2
AA
&
BF
'
BD .
&
B
'
B
(
B .
&
B
(
B
*
B .
*
B
(*
BBL
55 Q
"#
B B
""
BD
"!
BF
*
B
"#
B
""
BD
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BF
*
B
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BF
""
B
*
B
"#
BL
""
B
*
B
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B
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B
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B
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""
B
"!
B
"%
B
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B
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B
"#
BF
""
B
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B
""
B
Page 4/7
57
"&
BF
"%
B
"#
B
""
B
"%
B
""
B
"!
BF
""
B
)
BD
*
B
(
BF
*
B
""
B
*
B
"#
B
""
BD
*
B
"#
B
""
B
"!
B
)
BF
*
BD
"!
B
""
BD
"#
B
"&
BF
"#
B
""
B
"%
BF
"#
BF
"%
B Q
3
"#""
?1/2
=D=
17 - II7-V-I bebop progression #1
60
'
Dm7BF
(
B
(
B
'
B
&
B
(
B
&
BF
(
B
%
G7b9B
$
B
'
BF
$
BF
%
BD
'
BD
%
B
$
BF
'
B
3
&
Cmaj7=
EFF
18 - II-V-I bebop progressions #2
63
&
Gm7
B
(
B
)
B
(
B
&
B
)
B
(
B
&
B
)
C7b9
B
'
BE
(
BF
&
B
)
B
'
BE
&
B
)
B
&
Fmaj7B
)
B
(?
B
&?
B
&?
B
)
B
'
B
&
B
'
B
3
&
B
)
B AL
EE
19 - Catching up with Martino
67
Cm9R
"!
B
(
B
*
BF
(
B
*
B
"!
B
(
B
)
B
"!
B
)
B
)
B
(
B
"!
B
(
B
)
BE
*
F7 altBF
(
B
"!
B
"!
B
)
B
"!
B
(
B
)
B
*
BF
)
BE
(
B
"!
B
*
B
(
B
"!
B
(
BF
69
)
Bbmaj9
B
(
B
(
BF
&
B
)
B
&
B
'
B
&
B
)
B
(
B
&
B
)
B
&
B
'
BE
(
BF
&
B A
Page 5/7
EEE
20 - Dexter Gordon-type progression
71
$
Dm7b5B
%
B
$
B
&
B
%
BF
$
B
'
B
%
B
$
G7b9B
%
B
$
B
'
B
%
B
&
B
%
BF
$
B
&
Cm7=
DFF
21 - Bill Evans-type riff
74
*
F#m7b5B
(
B
*
B
"!
B
*
B
)
B
L L
(
B7b9B
)
B
"!
B
'
BD
(
B
)
B
)
BD
)
B
(
Em9B
*
B
(
B
)
B Q
"!
BL L
*
B
)
BD
(
B
)
B
*
A
E
22 - Harmonic minor over II-V-I
78
Em7b5R
*
B
)
B
""
B
"!
B
)
B
"!
B
*
B
)
B
"!
B
*
B
(
B
(
B
)
B
*
BF
"!
B
""
A7 altBE
*
B
)
B
*
B
)
B
*
BE
)
B
""
B
"!
B
*
BE
)
B
""
BE
"!
B
*
B
)
BE
"#
BF
80
""
Dm(maj7)
BE
"#
BF
*
B
"!
B
"#
B
"!
B
""
B
"!
B
*
BE
"!
B
"!
BF
"!
B
"#
B
"!
B
"$
B
"!
B
"&
B
"$
B
"#
B
"&
B
"%
AE
D
23 - Hard-Bop turnaround
82
"!
Bm7B
(
B
(
B
*
B
&
E7
B
'
BD
&
BF
*
B
(
B
'
BD
3
(
Am9
B
"!
B
*
B
)
B
(
B
'
D7BD
(
B
'
B
)
B
&
BF
'
BD
&
BF
(
B
3 3 3
)
G9/6=
Page 6/7
F
24 - Turnaround in C
85
Cmaj7Q
)
BD
*
B
)
B
(
B
"!
B
)
B
(
B
"!
B
L
3
'
A7b9BD
(
BD
'
BF
)
BD
*
BD
)
BF
(
BD
'
BF
&
Dm9B
'
B
&
B
(
B
'
BD
&
BF
(
B
$
B
&
B
3
%
G7b9/b5
BD
$
B
'
BD
&
B
$
BD
'
B
&
BF
$
B
#
Cmaj7
=
EEE
25- Turnaround with diminished
90
'
Ebmaj7B
(
BE
)
BF
)
B
'
B
)
B
(
B
)
B
"!
C7b9B
""
BE
*
BF
)
B
""
B
*
BE
)
B
""
B
*
Fm7B
"!
B
"!
B
*
B
)
B
"!
B
)
B
"!
B
""
Bb#5/#9BE
"#
BF
""
BE
*
B
*
BE
"!
BF
*
BE
"#
BF
""
Ebmaj7=
Page 7/7
DDF
26 - The last turnaround
93
*
F#m7B
"!
B
""
B
*
B
)
B7b9BD
"!
BF
*
B
(
B
"!
Em7
B
*
B
(
B
*
B
'
A7b9B
)
BD
(
BF
&
B
%
Dmaj7
=
jfernando
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