Castellano Català

RIFFS

What is a riff?

The riff is a musical motif or idea that is repeated in a song and has a well-defined rhythmic pattern. Even though it is not known where this name came from, some people say that jazz musicians invented the word from the simplification of rhythmic figure.

There is a good example in the version that Andrej Hermlin & His Swing Dance Orchestra made of the well-known theme Only You. Note how, in this case, the riff is repeated in the foreground before later remaining as a backdrop supporting the melody:

Although many riffs are an exact repetition of a motif (same notes and same rhythmic pattern) it is important to note that, taking into account the changing harmony of the song, melodic riffs often make small variations in order to adapt to these changes. There are even some variations or developments of the idea.

Although riffs have existed since the beginning of jazz, Count Basie used them more extensively, creating arrangements that revolved around this element. The musical result was so powerful that it was imitated by the best performers of this genre. In addition, since Basie liked to create songs with a 12 bar blues structure (where the musical phrases are longer -6 eights instead of 4-) this still gave him even more room to play with this idea.

The two main features of a riff (its repetitiveness and rhythmic character) not only make it one of the most characteristic elements of swing music but also one of the best sources of inspiration for dancers who are paying attention to the music.

But, although the riff is a characteristic element of swing music, it is not exclusive to this musical style. Repetitive motifs can also be found, for example, in classical music. Here it is referred to as an ostinato and the composition that is always used to illustrate it is Maurice Ravel's well-known Bolero, where the drums play a rhythmic ostinato throughout the whole composition.

Characteristics of riffs

Although the parallelism between riff and ostinato is often used, there is an important difference between them. Ostinato is usually a repetition that stays, almost identical, throughout the whole piece (listen to the Peter Gun Theme, popularized by the Blues Brothers). However the riff in swing music does not usually repeat throughout the whole song. Even though that we can find some pieces where the same riff appears in the entire composition (for example Go Ahead and Rock - Buddy Johnson) or a large part of it (for example in the magnificent piece, based on Chopin's E minor Prelude, Charlie's Prelude - John Kirby), this is not the most characteristic or usual form in swing music.

Riffs in swing music are normally changing, evolving, building on each, often with questions and answers. Riffs can be very simple or very rich and complex, all depending on the musician. Listen to the next song to get an idea of the complexity that can be reached by riffs. This is Easin 'It by Count Basie, where we have marked the riffs so you can identify them more easily:

Two-eight riffs are very characteristic of songs that have a 12-bar blues structure. Assuming that this structure tends to develop with phrasing that last two eights, riffs often do the same (and last two eights). In many of these cases, as we will see later, the riff is the melody of the song itself.

Listen to these examples of pieces with a 12-bar blues structure (six eights) where the riff lasts two eights:

If you like, you can also listen to these pieces where two-eight riffs are mix with one eight ones:

• • • • Gilly - Benny Goodman

      • House Party - Sy Oliver

      • The Hucklebuck - Tommy Dorsey

In the following video we have indicated the riffs and their duration. You will see that in some moments the riffs are long (of 2 eights) and others are shorter (of an eight). This piece also has the attractiveness of following a very unusual structure in swing music, as is AABBA.

Surely you've noticed that, in the previous video, there are riffs that do not repeat throughout the whole section and, in the last eight, they change the melody, they do not do the riff anymore. This is quite usual to happen in the 4 eight sections (8 bars), like happens in the song of the video, where the riff in the fourth eight (which is usually a musical and harmonic resolution) also tend to resolve the musical build-up. This means that the riff will be identical three times (in the first three eights) but different in the fourth. The idea is that the riff also helps to explain that the musical idea is over. This closing of the idea (of the musical phrase) will be repeated in a totally predictable way and will therefore simplify anticipation and musicality. Listen to this idea in these songs:

• • • Basie Talk - Count Basie

    • Blue Moon - Andrej Hermlin & His Swing Dance Orchestra

    • Easy Does It - The Big 18

Simple and harmonised riffs

Look at the following score for a riff. Note that the three saxophones play exactly the same tune (the same notes, in terms of duration and height). That's what we call a simple riff.

Riffs are often harmonised to give therm more power, avoid monotony, change the colour... in short, to give them more life. This means that the instruments do not play exactly the same tune (the same notes in height and duration) they play notes that complement the original riff and make it much fuller. The score below shows how Saxo 2 exactly plays the same riff notes but the other two saxophones play notes of the same duration but of a different height. They are notes that harmonically link with the simple riff and make it much fuller, richer. This is a harmonised riff.

In this video you can hear how the riff is simple in the first and third choruses (the saxophones all play the same notes) but it is harmonised in the second.

Functions of the riff

Riffs give so much leeway that composers and arrangers used them extensively, and in a very refined way, in swing music. Thus, although the basic function was to create a base, a backdrop, accompanying the melody and especially solos, riffs really perform multiple functions.

There are riffs so powerful that they make up the melody of the song. We call these riff themes or riff-based tunes the best known examples are:

The previous video exemple, Spook's Holiday, is also a riff theme. You can see that As use a two eights riff and Bs a one eight riff.

The great Duke Ellington's classic, Things Is Not What They Used To Be, is also a riff theme, in this case with a blues structure, which makes riffs be repeated more times. There are also a lot of riffs in this tune that feature the accompaniment.

Royal Garden Blues is considered one of the first popular songs based on riffs. It is a riff theme. You can listen to one of the first versions that was recorded in 1921. You will see that it has no swing and, above all, the singer changes the riffs of the original score to avoid repetition. It is clear that, at that time, riffs were not yet much appreciated.

Given that another of the characteristic elements of swing music is the call & response, we should not be surprised when (as we have seen in some of the previous examples) riffs also often play with this dialogue of call & response or questions & answer that is so suggestive for dancers. You can see two examples in the following video:

Another resource that some musicians also use is to build their solos using riffs. For instance, Louis Armstrong used this to generate tension, especially at the end of songs. A good example is his ending to St. Louis Blues. Note how, after minute 1.54, he closes the song with a long solo that includes different riffs.

Finally, there are songs that practically only consist of riffs. We call them all-riff songs as shown in the following example. This song is a wonder for riff lovers. The melody is made up of different riffs, riffs accompany other riffs or play answers; the different sections (trumpets, trombones and saxophones) play with riffs, they pass them on to each other, make harmonisations... and to wind up, as usually happens in this kind of songs, there is a spectacular shout chorus (the final chorus where the whole band works hard to make a climatic ending). (Note: in this video some riffs are very similar to others but, if you pay attention, you will notice they are different. This is why we have marked them as new).

Dancing to riffs

You can see the wealth that riffs bring to swing music. If you try to perceive them when dancing their rhythmic component will surely make you to move with a special energy and their repetitive character will simplify prediction. But, above all, the game that is usually takes place between the different sections of the band when riffs appear give music and, consequently, dance, an almost endless dimension of musicality, inspiration and improvisation. This is why we think it is almost unforgivable if, in a dance session, the DJ does not choose songs where there are riffs or, in a live music concert, the band does not put riffs into its arrangements as otherwise they deprive dancers of one of the most powerful elements of this musical style.

If you like, just to wind up, note how Alice and Thomas often inspire their dance in the riffs in One O'clock Jump: